No.  119 


JAPANESE  COLOR  PRINTS 

THE  COLLECTION  OF 

MRS.  ADOLPHE  BORIE 

OF  NEW  YORK 


TO  BE  SOLD  AT  UNRESTRICTED  PUBLIC  AUCTION 

Thursday  and  Friday  Evenings,  May  1  and  2, 1919 

AT  8:15  O’CLOCK 

ON  VIEW  FROM  SATURDAY,  APRIL  26th,  9:30  TO  5:30  P.  M. 
INCLUDING  SUNDAY,  APRIL  27th,  10:30  TO  5:00  P.  M. 


THE  WALPOLE  GALLERIES 

No.  10  East  Forty-Ninth  Street,  New  York 


Kisokaido  Series,  by  Hiroshige  and  Yeisen 
No.  9.  Miyanokushi  Mist  and  Moonlight 
No.  60.  Semba  Moonlight 


On  View  from  April  26 


No.  119 


Sale  May  1  and  2 


Japanese  Color  Prints 

The  Important  Collection  of 

Mrs.  Adolphe  Borie 

of  New  York 

Including 

Complete  Sets  in  the  First  States  of  the  Rare  Hiroshige  Series  of  the 
Kisokaido,  the  Tokaido  and  the  Marusei  Tokaido;  Kitao  Masanobu’s 
“Shin  Bijin  Awase  Jijitsu  Kagami”  or  “Beautiful  Yoshiwara 
Girls  Written  Down  as  in  a  Mirror” ;  Eleven  of  Utamaro’s 
“Silkworm  Series,”  in  the  P'irst  Issue;  Three  Utamaro 
Prints  from  the  De  Goncourt  Sale,  Paris  in  1898; 

Girls  in  the  Rain  by  Harunobu;  and  other  Has- 
hiraye  by  Koriusai,  Kiyonaga,  etc.  Prints 
by  Yeishi,  Toyokuni  I.  Kuniyoshi 
Landscape,  Yeizan,  Blue  Prints 
by  Kaisei  Yeisen,  and  Ho¬ 
kusai’s  “Hundred  Views 
of  Fuji”  in  the  First 
Edition  dated 
1834. 

Lacquer  Print  by  the  Elder  Masanobu 
Hosoye  by  Buncho,  Kiyomitsu  and  Toyonobu 

To  be  sold  at  unrestricted  public  auction 

Thursday  and  Friday  Evenings,  May  1  and  2  1919 

at  8:15  o’clock 

On  View  from  Saturday,  April  26th,  1919,  9:30 — 5:30  P.  M. 
Including  Sunday,  April  27th,  10:30 — 4:30  P.  M. 

* 

The  Walpole  Galleries 

No.  10  East  Forty-Ninth  Street,  New  York 

Telephone:  Murray  Hill  6512 


CONDITIONS  OF  SALE 


1.  All  bids  to  be  per  lot.  They  are  executed  free  of  charge  by  the 
Walpole  Galleries  and  the  items  are  bought  at  the  lowest  price  permitted 
by  competitive  bids. 

2.  The  highest  bidder  to  be  the  buyer;  in  case  of  disputed  bids  the 
lot  shall  be  resold,  but  the  Auctioneer  will  use  his  judgment  as  to  the 
good  faith  of  all  claims  and  his  decision  shall  be  final.  He  may  also 
reject  any  fractional  or  nominal  bid  calculated  to  delay  or  injuriously 
affect  the  sale. 

3.  Buyers  to  give  their  names  and  addresses  and  to  make  such  cash 
payments  on  account  as  may  be  required  in  default  of  which  the  lots 
purchased  to  be  immediately  resold. 

4.  Goods  bought  to  be  removed  at  the  close  of  the  sale.  If  not  so 
removed,  they  will  be  held  at  the  risk  of  the  purchaser  and  these  Galleries 
will  not  be  responsible  if  such  goods  are  lost,  stolen,  damaged  or  de¬ 
stroyed.  No  deliveries  will  be  made  during  the  sale. 

5.  Terms  Cash.  If  accounts  are  not  paid  at  the  conclusion  of  the 
sale,  or,  in  the  case  of  absent  buyers,  when  bills  are  rendered,  these 
Galleries  reserve  the  right  to  dispose  of  the  goods  without  notice  to  the 
defaulting  buyer  and  all  costs  of  such  re-sale  will  be  charged  to  the 
defaulter.  This  condition  is  without  prejudice  to  the  rights  of  the 
Company  to  enforce  the  sale  contract  and  collect  the  amount  due  with¬ 
out  such  re-sale  at  its  own  option. 

6.  This  catalogue  has  been  compiled  by  competent  cataloguers;  the 
various  lots  offered  are  described  with  care  and  accuracy  and  they  will 
be  sold  not  subject  to  return. 

7.  The  Walpole  Galleries,  if  requested,  will  forward  purchases  at  the 
buyer’s  risk  and  expense. 


Material  on  exhibition  five  days  before  the  sale. 
Priced  copies  of  this  catalogue  at  $2.00  each. 


THE  WALPOLE  GALLERIES. 


Edward  TumbuU 
Lenore  Young  Turnbull 


No.  10  East  49th  Street,  New  York. 


This  sale  will  be  conducted  for  the  Walpole  Galleries  by 


MR.  WALTER  S.  SCOTT 

Telephone,  Murray  Hill  6512. 


THE  GETTY  RESEARCH 
ir.jliijTE  LIBf-fART 


THE  JAPANESE  PRINT  COLLECTION 

of  MRS.  ADOLPHE  BORIE 


Mrs.  Borie  secured  her  first  prints  from  the  De  Goncourt  sale  in  Paris 
in  1898,  and  she  was  fortunate  enough  to  purchase  there  three  fine 
Utamaro  examples  from  that  great  collection.  She  spent  some  time  in 
Japan  in  1903,  and  enjoying  the  friendship  of  Mr.  John  Stewart  Happer, 
with  his  guidance  and  advice  the  rest  of  her  prints  were  mainly  acquired. 
This  fact,  together  with  the  condition  of  the  prints  themselves,  insures  a 
desirable  authenticity,  an  extremely  important  point,  and  one  which  can 
be  relied  on  by  the  amateur,  who  often  hesitates  to  trust  his  own  impres¬ 
sions. 

Prints  with  a  “pedigree”  are  valuable  additions  to  a  collection  when 
they  can  be  used  as  standards  of  comparison.  The  dispersal  of  such  a 
collection  is  an  event  that  can  no  longer  be  looked  on  with  certainty,  in 
view  of  the  rapid  disappearance  of  these  fine  early  impressions. 

An  endeavor  has  been  made  to  make  the  catalogue  of  permanent 
value  by  giving  the  accepted  points  which  determine,  as  far  as  possible, 
the  various  states  of  the  prints.  These  points  have  not  been  given  the 
attention  they  deserve,  but  the  extraordinary  value  of  these  impressions 
will  be  appreciated  on  comparing  their  early  soft  yet  brilliant  coloring, 
and  their  fine  registration,  with  the  late  and  careless  printings  which 
serve  only  to  belie  designs  in  which  the  delicately  printed  impressions  in 
the  Borie  collection  are  of  the  most  surpassing  beauty. 


Attention  has  been  called  on  the  title  to  the  complete  set  of  the 
Kisokaido,  that  wonderful  collaboration  of  Hiroshige  and  Yeisen  bought 
by  the  advice  of  Mr.  Happer,  with  the  “Mist  and  Moonlight  at  Miyano- 
koshi,”  the  “Semba  Moonlight,”  “Suhara  Rain,”  “Itabana,”  and  the  moon¬ 
lit  shadowy  bridge  at  Nagakubo ;  to  the  delicate  beauty  of  the  Marusei 
Tokaido  with  “Hodogawa  Snow”  in  flawless  collector’s  condition,  “Mariko 
Snow,”  “Seki  Night  Snow”  and  “Yejiri”;  to  the  Tokaido  with  its  famous 
prints  of  snow,  rain  and  wind,  “Shono,”  “Oiso,”  “Kambara,”  etc. 

There  is  also  a  first  edition  of  Hokusai’s  three  volume  “100  Views 
of  Euji,”  1834,  with  Hokusai’s  portrait  of  himself — Illustrated^ — the 
“Beautiful  Women  as  Seen  in  a  Mirror”  by  Kitao  Masanobu;  eleven  of 
the  set  of  Utamaro’s  “Silkworm  Series” ;  a  superb  lacquer  print  by  the 
elder  Masanobu ;  prints  by  Kiyomitsu,  Buncho,  Kiyonaga  and  Koriusai ; 
a  Kuniyoshi  landscape;  prints  by  Harunobu,  Toyonobu,  and  a  few  very 
fine  Utamaro  examples,  including  those  mentioned  above  secured  at  the 
De  Goncourt  sale  in  Paris  in  1898. 


Digitized  by  the  Internet  Archive 
in  2020  with  funding  from 
Getty  Research  Institute 


https://archive.org/details/japanesecolorpri00walp_17 


LIST  OF  ILLUSTRATIONS 

Plate.  No. 

BUNCHO:  Hosoye.  Actor  as  a  Woman .  5  79 

HARUNOBU  :  Hashiraye.  Two  Girls  in  the  Rain .  26  82 

HARUNOBU :  Chuban.  Sleepy  Beauty .  6  81 

HARUNOBU:  Chuban.  Two  Girls  of  the  Nobility .  5  80 

HIROSHIGE  AND  YEISEN;  Collaboration 
Kisokaido  Series : 

Asama  Mountain  .  4  10 

Hiratsuka  Rain  print .  3  20 

Inagawa  Bridge  and  Waterfall  .  4  23 

Itabana  Snow  Landscape  .  3  25 

Karuisawa  Night  Scene .  2  29 

Mitone  in  Spring  .  4  40 

Miyanokushi  Mist  (frontispiece)  .  1  9 

Mochizuki  Moonlight  .  2  41 

Nagakubo  Moonlight  Bridge  .  2  45 

Oi  Snow  Landscape  .  3  50 

Semba  Moonlight  (frontispiece)  .  1  60 

Shinryugawa  Bridge  .  3  63 

Shioziri :  Erozen  Lake  Siwa .  3  65 

Suhara  Rain  .  2  66 

Tarui  Rain .  4  69 

Uegamatsu  Waterfall .  4  72 

Wada  Mountain  Pass  .  3  74 

Warabi  River  Eerry .  4  75 

HIROSHIGE: 

Tokaido  Series : 

Rain  at  Shono .  13  159 

Kambara  Evening  Snow .  12  132 

Tsuchiyama  Spring-  Rain .  13  162 

HIROSHIGE: 

Marusei  Tokaido  Series; 

Eujiye  Rain  .  16  199 

Hakone  Night  Scene .  16  202 

Hamamatsu  Water  View .  16  204 

Hara  and  Alount  Euji  .  18  205 

Hisaka  Pass . 16  206 

Hodogaya  Snow  .  17  207 

Kambara  Water  Print .  18  210 

Kuwana  Ferry  .  17  216 

Mariko  Snow  .  17  219 

Miya  Water  Print  .  16*  222 

Minakuchi  Mountain  \4ew .  16  223 

Numadzu  Landscape  with  Mt.  Fuji .  17  226 

Okitsu  \Wter  \4ew .  18  232 

Seki  Night  Snow  .  17  235 

Shono  Bonfire  .  18  239 

Totsuka  “Three  Trees” .  17  241 

Yejiri  Water  Print .  18  243 

Yoshiwara  Path  .  18  246 


HIROSHIGE— Continued. 


HIROSHIGE  :  Eujikawa  Snow  Gorge,  kakemono  print .  26  282 

HIROSHIGE:  Ryogoku  Bridge  “Toto  Meisho” .  11  279 

HOKUSAI :  Yenoshima  Water  View .  8  84 

HOKUSAI:  Hokusai’s  Portrait  of  Himself  (from  his  book, 

the  “100  Views  of  Euji”)  .  7  83 

KIYOMITSU  :  Hosoye  in  beni  and  green .  11  110 

KIYONAGA:  Hashiraye:  Courtesan  Under  Nanten  Tree.  ..26  96 

KORIUSAI :  Hashiraye  :  Stolen  Letter .  26  97 

KUNIYOSHI :  Gathering  Nori  at  Low  Tide .  9  107 

KUNIYOSHI:  Asama  Mountain  in  Storm .  9  108 

MASANOBU  (OKUMURA)  :  Lacquer  Print,  Woman  with 

Tray  .  10  109 

MASANOBU  (KITAO)  :  Beauties:  House  of  Atsukiya .  14  172 

MASANOBU:  Beauties:  House  of  Yotsumiya .  15  178 

TOYONOBU  :  Hosoye:  Lovers  Under  an  Umbrella .  11  111 

UTAMARO :  Yaowa  Ohichi  \  ^  •  -p  •  ,  /  19  248 

UTAMARO :  Koshokichisaburo  I  Companion  Prints  j  249 

UTAMARO:  Bathing  the  Baby .  21  253 

UTAMARO  :  Three  Prints  from  the  De  Goncourt  Sale, 

Paris,  1898 : 

Komachi  and  Her  Baby  and  Nurse .  20  251 

Komachi  Playing  with  Her  Baby .  20  250 

Komachi  and  Her  Boys  Playing  a  Game .  20  252 

UTAMARO:  Silkworm  Culture  Series . Plates  21-23  254-264 

YEISHI :  Hashiraye.  Two  Girls .  26  269 

YEISHI :  Lord  Genji,  Attended .  24  270 

YEISHI:  Two  Courtesans  Walking .  24  271 


CATALOGUE 


Japanese  Print  Collection  of  Mrs.  Adolphe  Borie 


First  Session,  Lots  Nos.  1-138 


HIROSHIGE,  1797-1858. 

1.  TWO  SMALL  PRINTS.  “Kameyama"’  from  the  “53  Views”  and 

one  from  the  “53  Views  of  Arai.”  (2  pcs.) 

2.  OMI  HAKKEI.  Eive  of  the  “Eight  Views  of  Lake  Biwa.”  Koban 

or  small  size,  but  having  three  of  the  best  of  the  series,  Ishiyama 
Moon,  Hirado  Snow  and  Karasaki  Pine  in  Rain.  (5  pcs.) 

3.  SEVEN  PRINTS  EROM  THE  SMALL  SIZE  “YEDO  MEISHO,” 

including  Ryogoku  Moonlight,  Takanawa,  Nakasu,  Sumida 
River,  etc.  (7pcs.) 

4.  BROADSHEET  WITH  SIX  ATTENDANTS  OE  A  DAIMIO. 

Sheet  from  a  triptych. 

5.  EAMILY  SCENE.  A  little  party  with  the  Husband  showing  Euji 

to  the  guests  grouped  at  lunch,  while  his  Wife  calls  attention  to 
the  view  from  the  other  window.  A  quite  natural  and  home-like 
effect  is  given  by  their  both  talking  at  once.  Signed.  Oblong. 

6.  LANDSCAPE  EROM  THE  “EIGHT  VIEWS  OF  KANA¬ 
ZAWA.”  Low  tide,  with  little  boats  seen  beyond  the  promon¬ 
tory.  Margins  trimmed.  Signed. 

YEDO  MEISPIO  HYAKKEI  BY  HIROSHIGE. 

7.  SWINGING  LANTERN  IN  ASAKUSA  KINRYUSAN.  Fine 

snow  print  from  the  upright  “Yedo  Meisho”  and  an  original  im¬ 
pression,  the  globe  shaped  lantern  oxidising  finely  in  contrast 
with  the  black.  Signed. 

8.  DRUM  BRIDGE:  Kameido  Temple.  From  the  Yedo  Meisho 

Hyakkei,  Signed,  margins.  The  quaint  high  bridge  and  pretty 
pendant  sprays  of  Wistaria  make  this  one  of  the  most  sought  for 
prints  of  the  series.  It  is  also  rare. 

The  Walpole  Galleries,  10  East  49th  Street,  New  York 


2 


JAPANESE  COLOR  PRINTS 


SIXTY-NINE  STATIONS  OF  THE  KISOKAIDO. 

The  mountain  road  running  through  the  centre  of  the  island 
between  Yedo  and  Kyoto.  Hiroshige  and  Keisai  Yeisen  collabo¬ 
rated  in  this  series,  23  of  the  plates  being  by  the  latter.  The  series 
was  published  by  Takeuchi  Hoyeido. 

Complete  set  in  the  original  condition  as  published  in  a 
DOUBLE  OPENING  ALBUM.  When  the  Happer  catalogue  appeared  in 
1909,  Mr.  Happer  stated  his  set  to  be  the  only  complete  set  of 
the  Kisokaido  to  be  offered  by  auction.  The  set  of  Mrs.  Borie, 
secured  with  Mr.  Happer’s  collaboration,  is  believed  to  be  the 
second  complete  set  offered  since  that  time. 

9.  MIYANOKOSHI  STATION.  No.  37.  Signed  Hiroshige  and 
Ichiryusai  is  given  in  the  seal. 

*In  the  Amsden  and  Happer  book,  this  is  picturesquely  characterized 
as  “Moonlight  and  Mist  at  Miyanokoshi  Station — the  finest  picture  of 
mist  and  moonlight  of  any  known  print.”  Artist’s  impression  in  col¬ 
lector’s  CONDITION.  .A.  superb  ALBUM  PRINT  IN  THE  ORIGINAL  COLORING. 

(See  Frontispiece) 


10.  ASAMA  MOUNTAIN  BY  YEISEN.  A  very  famous  landscape 

from  the  Kisokaido,  with  a  coolie  pulling'  his  tired  horse  at  the 

base  of  the  mountain  of  splendid  brownish  red. 

*Original  impression  and  coloring. 

(See  plate  No.  4.) 

11.  AGEO:  YEISEN  LANDSCAPE  FROM  THE  KISOKAIDO. 

Fresh  and  crisp  impression  in  the  original  condition. 

*Mr.  Happer  states  that  of  all  Yeisen’s  plates  known  to  him,  he 
seldom  reaches  the  power  shown  in  the  plates  contributed  by  him  to 
this  set. 

12.  BRIDGE  AT  AKASAKA  BY  HIROSHIGE.  An  early  spring 

time  print  with  budding  trees  and  blue  water  rippling  over  rocks. 

13.  ANAKA.  By  Hiroshige.  A  procession  winding  up  the  red  path 

to  the  left,  round  a  great  grey-green  hill.  Fine  original  coloring. 

14.  ASHIDA  STATION.  By  Hiroshige.  Curiously  treated  in  continu¬ 

ous  curving  blocks  in  green,  blue  and  red-brown,  with  not  un¬ 
pleasing  effect. 

15.  ATSUKAKA  STATION.  By  Hiroshige.  An  inn,  very  clearly  and 

well  printed.  Hiroshige  with  quaint  conceit  has  placed  the 
number  on  the  horse  cloth,  instead  of  on  a  seal,  and  the  sig'ns 
contain  the  names  of  various  engravers. 

16.  BABA  STATION  BY  HIROSHIGE.  Milage  Street  with  high 

green  hills  in  the  distance. 


The  Walpole  Galleries,  10  Ea.st  49th  Street,  New  York 


COLLECTION  OF  MRS.  ADOLPHE  BORIE 


3 


PLATE  2 


Kisokaido  Series 

Xo.  45.  Hiroshige:  Nagakuho  Bridie 
No.  66.  Hiroshige:  Siihara  Uaiii 
No.  41.  lliroshigc:  Mocliiziiki  Moon 


CJ  ’ 


juA  V 


4 


JAPANESE  COLOR  PRINTS 


KISOKAIDO — Continued. 

17.  FUKATANI.  By  Bliroshige.  Geishas  arriving  at  a  tea-house,  a 

noted  night  scene  with  shadow  figures  from  the  Kisokaido. 

*First  issue  shown  by  the  marked  distinction  between  light  and 
shade  from  the  traveller’s  lantern. 

18.  FUKUSHIMA  STATION  BY  HIROSHIGE.  A  place  of  import¬ 

ance  with  barrier  gate  and  guard-house  with  rich  green  banks 
either  side. 

19.  FUSHIMI  STATION  BY  HIROSHIGE.  Travellers  halting  under 

a  great  tree.  Note  the  rather  lavish  and  unusual  use  of  red  used 
with  great  artistic  effect. 

20.  RAIN  AT  HIRATSUKA  BY  YEISEN.  Travellers  bending 

against  the  sudden  rain,  the  coolie  leading  the  laden  oxen  watch¬ 
ing  the  diminution  of  the  shower  at  the  left. 

^Original  impression  and  coloring. 

(See  plate  No.  3.) 

21.  HOSOKUDE  STATION.  By  Hiroshige.  Sometimes  called  the 

“Two  Trees”  their  arch  forming  a  frame  for  a  little  village  and 
distant  landscape. 

22.  IMAZU  STATION  BY  HIROSHIGE.  A  row  of  houses  at  the 

top  of  a  Pass  with  rushes  on  the  roof,  a  large  tree  on  the  opposite 
side  and  green  hills  in  the  distance. 


23. 


INAGAWA  BRIDGE  AND  WATERFALL  BY  YEISEN.  Eresh 


and  crisp  impression  of  this  extremely  rare  print. 


^Original  issue. 


(See  plate  No. 


24.  INUYAMA  STATION  BY  YEISEN.  A  fine  river  landscape  with 
grey  castle  to  left,  and  in  the  distance  a  range  of  grey  and  yellow 
hills. 

*Very  fine  and  rare.  Mr.  J.  S.  Happer  writes  of  this  print,  “One 
of  Yeisen’s  best.” 


.25.  ITABANA.  By  Hiroshige.  The  noted  “snow  landscape”  of  the 
Kisokaido.  Original  impression. 

•»>'  *Travellers  reaching  the  little  village  over  a  road  deep  in  snow  and 

bordered  with  pine  trees.  Note  the  fresh  color  of  the  snow  with  blue 
shadows  and  the  old  orange  sunset  sky. 

(See  plate  No.  3.) 

'c  The  Walpole  Galleries,  10  East  49th  Street,  New  York 


COLLECTION  OF  MRS.  ADOLPHE  BORIE 


5 


KISOKAIDO— Continued. 


No.  29.  Hiroshige:  Karuisawa 


26.  ITA  BASHI.  By  Yeisen.  Village  bridge  street  with  the  usual 

animated  scene  of  coolies,  travellers,  horses,  etc. 

27.  IWAMURATA  STATION  BY  YEISEN.  Summer  landscape  with 

six  blind  masseurs  fighting  madly  in  the  foreground,  and  a 
howling  dog  to  add  to  the  confusion. 

28.  KANO  STATION  BY  HIROSHIGE.  Daimio’s  Cortege  issuing 

from  the  Castle,  with  long  stretches  of  green  fields  and  woods. 

29.  KARUISAWA  STATION.  By  Hiroshige.  One  of  his  great  night 

scenes,  so  inimitably  portrayed.  With  margins. 

*SupERB  IN  TECHNIQUE  AND  CONDITION,  FIRST  EDITION,  with  the  lantern 
bearing  the  name  “Iseiri”  and  the  horse  blanket  with  Kinjude’s  device. 
Hiroshige’s  signature  is  followed  by  the  rare  seal  “Tokaido.” 

Collector’s  state  with  the  contrasts  between  light  and  shade  in  the 
flames  of  the  big  bonfire. 

(See  illustration  above.) 

30.  KASHIWABARA  STATION  BY  HIROSHIGE.  The  front  view 

of  an  Inn,  with  Kago  men  resting. 

31.  CORMORANT  FISIilNG  AT  KAWADO'  STATION.  By  Yeisen. 

Night  scene. 

*CoNsiDERED  A  MASTERPIECE  OF  YEISEN,  and  a  Very  rich  impression. 

32.  KONOSU  STATION  IN  VIEW  OF  FUJI.  By  Yeisen.  A  rare 

landscape  by  Yeisen  from  the  Kisokaido. 


The  Walpole  Galleries,  10  East  49th  Street,  New  York 


6 


JAPANESE  COLOR  PRINTS 


PLATE  3 


■»  A  >  f ' 
»f:  Mi*r 

^  ikA 


nwywjWi 


Kisokaido  Series 

No.  74.  Hiroshige:  VVada  Pass 
No.  63.  Yeisen:  Shinryugawa  Bridge 
No.  SO.  Hiroshige;  Oi  Snow 


No.  65.  Yeisen:  Shioziri  Ice 
No.  25.  Hiroshige:  ■  Itabana  Snow 
No.  20.  Yeisen:  Hiratsuka  Rain 


The  Walpole  Galleries,  10  East  49th  Street,  New  York 


COLLECTION  OF  MRS.  ADOLPHE  BORIE 


7 


KISOKAIDO — Continued. 

33.  KOTAI  OR  ODAI.  By  Hiroshige.  Very  rare  and  desirable  orig¬ 

inal  impression.  Four  men  in  broad  hats  push  through  the  tall 
autumn  grasses  over  a  little  stream. 

34.  KUMAGAYA.  By  Yeisen.  Travellers  arriving  at  an  Inn;  Horse¬ 

feeding  from  a  nose-bag.  Fine  crisp  impression,  note  the  quality 
of  blue  and  the  cloudy  sky  in  sunset  tones,  and  the  seal  “Take” 
on  the  horse-cloth. 

35.  KURAHANO  STATION.  Tori  River  by  Yeisen.  A  charming 

scene ;  two  women  at  work  on  the  edge  of  the  river,  while  the 
boys  bathe  and  play. 

36.  KUSATSU  BY  HIROSHIGE.  Showing  the  spot  where  the  Kiso- 

kaido  joins  the  Tokaido. 

37.  MAGOME  STATION  BY  YEISEN.  Traveller  on  an  ox  passes 

green  and  grey  hillsides,  a  little  village  and  misty  hills  in  the 
distance.  Centre  crease  repaired. 

38.  MATSUIDA  STATION  ON  THE  KISOKAIDO.  By  Hiroshige. 

Hill  road  to  right,  horsemen  going  and  coming. 

39.  MIEJI  STATION  BY  HIROSHIGE.  Twilight  scene,  with  tall 

waving  bamboo  grasses  and  wild  pink  camellias  to  right. 

40.  MITONE  IN  SPRING.  By  Hiroshige.  Coolies  in  the  Rice  Fields, 

and  Plums  in  blossom  at  the  Torii. 

Original  impression  and  condition. 

(See  plate  No.  4.) 

41.  MOCHIZUKI :  OR  CRYPTOMERIA  TREES  BY  MOONLIGHT. 

By  Hiroshige.  A  very  famous  moonlight  print  from  the  series. 
*Original  impression  and  coloring. 

(See  plate  No.  2.) 

42.  MORIYAMA  STATION  BY  HIROSHIGE.  Showing  the  main 

street,  pretty  brown  and  yellow  cottages  and  many  Cherry  Trees 
in  blossom. 

43.  MOTOYAMA.  By  Hiroshige.  Showing  the  huge  tree  fallen 

across  the  road,  with  woodchoppers  seated  on  a  log. 

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8 


JAPANESE  COLOR  PRINTS 


KISOKAIDO— Continued. 

44.  MUSA  STATION  BY  HIROSHIGE.  A  bridge  of  boats,  blue 

stream  and  waving  bamboo  grasses  with  small  trees  make  this 
a  very  pleasing  print.  Fine  original  condition. 

45.  NAGAKUBO  AND  ITS  MOONLIGHT  SHADOWY  BRIDGE. 

By  Hiroshige.  A  celebrated  Moonlight  and  shadow  prints  from 
the  Kisokaido. 

*The  very  rare  original  impression.  Considered  one  of  the  great 
“moonlight”  prints  in  Japanese  art,  rivalling  Miyanokoshi  (see  No. 
9)  in  its  artistic  quality. 

(See  plate  No.  2.) 

46.  NAKATSU  KAWA  STATION.  By  Hiroshige.  A  low  road 

through  the  rice  fields  leading  from  the  village  at  the  foot  of 
brown  and  pink  hills. 

47.  NARAI  STATION  BY  YEISEN.  A  steep  pathway  with  Inn  and 

travellers  resting,  the  roof  laden  with  stones  (as  the  mountain 
winds  are  wild). 

*Very  fine  sharp  impression. 

48.  NIPPON  BASHI  SNOW.  By  Yeisen.  Nippon  Bridge,  crowded 

with  figures.  Centre  crease. 

49.  OCHIAI  STATION.  By  Hiroshige.  A  beautiful  sweep  of  green 

hills  and  dark  foliage  wtih  blue  mountains  above.  Centre  crease 
strengthened. 

50.  01  SNOW  SCENE  FROM  THE  KISOKAIDO.  By  Hiroshige. 

One  of  the  most  picturesque  compositions  of  the  series  in  spite 

of  the  fact  that  in  places  the  heavily  falling  snow  has  oxidised 

into  greyish  black. 

*Very  rare  original  impression. 

(See  plate  No.  3.) 

51.  OKAGAWA.  By  Yeisen.  Peasants  gossiping  in  the  foreground 

while  cleaning  rice ;  fields  and  pretty  flight  of  birds  beyond. 

52.  OKUTE.  By  Hiroshige.  A  lonely  scene  on  the  mountain  tops, 

with  tired  peasants  loaded  with  fagots  plodding  wearily  up. 

53.  OMIYA  IN  SPRING.  By  Yeisen.  Landscape  from  the  Kisokaido, 

with  Mt.  Fuji  seen  beyond  the  Cherry  Trees. 


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COLLECTION  OF  MRS.  ADOLPHE  BORIE 


9 


KISOKAIDO— Continued. 

54.  ONTAKE  STATION  BY  HIROSHIGE.  Mountain  tea-house  at 

night,  with  misty  blue  mountains  beyond.  Eine  impression. 

55.  OTA  STATION  BY  HIROSHIGE.  A  River  scene  and  an  ex¬ 

tended  rose  tinted  sky,  against  which  the  three  Pines  show  to 
great  advantage. 

56.  OTSU  STATION  BY  HIROSHIGE.  A  high  point  from  which 

can  be  seen  Lake  Biwa.  This  print  also  forms  a  part  of  the 
Tokaido  if  desired. 


57.  SAKAMOTO.  By  Hiroshige.  A  famous  print  for  the  great  round 

topped  mountain  and  at  its  foot  the  pretty  village  with  blue  and 
yellow  thatches. 

*Here  the  artist  has  not  been  determined,  and  Mr.  Happer  takes  the 
position  that  while  it  resembles  Yeisen  the  title  is  in  Hiroshige  script, 
and  consequently  gives  it  to  the  latter. 

58.  SAMEGAI  STATION  BY  HIROSHIGE.  With  the  great  tree 

in  the  centre,  just  at  the  edge  of  the  village. 

59.  SEKIGA  HARA  STATION  BY  HIROSHIGE.  Tea-house  with 

woman  serving  travellers  who  talk  to  a  passing  coolie  leading 
a  horse.  Well  printed. 


60.  SEMBA  STATION  ON  THE  KISOKAIDO.'  By  Hiroshige.  The 
celebrated  “Moonlight”  print,  very  rare  original  condition. 
Signed. 

^Perhaps  the  most  difficult  to  secure  of  this  much  sought  for 
series. 

(See  frontispiece.) 


61.  SHIMONO  SUWA  STATION  BY  HIROSHIGE.  A  station  on 
Suwa  Lake  showing  the  Inn  with  hot  baths  (an  open  door  reveals 
the  happy  traveller). 


62.  SHINMACHI.  By  Hiroshige.  Bridge  and  River,  with  hills  of 
graded  blue  in  the  background. 

*With  this  plate  commences  Hiroshige’s  contributions  in  some  of  his 
best  color  schemes.  The  aubergine  and  pale  lemon  colored  clouds 
representing  the  marvellous  atmospheric  effects  in  Japan. 

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10  JAPANESE  COLOR  PRINTS 

KISOKAIDO — Continued. 

63.  BRIDGE  AT  SHINRYUGAWA.  By  Yeisen.  A  very  rare  Yeisen 
landscape  from  the  Kisokaido,  showing  a  Daimio’s  Cortege  cross¬ 
ing  the  Bridge. 

^Original  impression  and  condition. 

(See  plate  No.  3.) 


64.  SHIONADA  STATION.  By  Hiroshige.  \ 

*Mr.  Happer  calls  this  “A  perfect  landscape”  suffused  with  a  soft 
yellow  glow.  Under  a  thatched  roof  by  the  stream  coolies  nearly 
nude  are  resting,  while  others  approach,  coming  up  from  their  bath. 

f 

65.  YEISEN  PRINT  EROM  THE  KISOKAIDO.  Shioziri  near  the 
frozen  Lake  Siwa.  Eirst  impression,  original  coloring.  A 
small  spot  in  the  sky. 

(See  plate  No.  3.) 

66.  SUHARA  RAIN  EROM  THE  KISOKAIDO'.  By  Hiroshige.  A 

famous  and  very  desirable  rain  scene. 

*Original  impression  and  coloring,  and  in  remarkably  fresh  and 
clear  printing. 

(See  plate  No.  2.) 


67.  TAKAMIYA  BY  HIROSHIGE.  People  crossing  the  dry  river 
bed ;  note  the  fine  quality  of  the  blue  of  distant  hills  and  striated 
sky. 


68.  TAKASAKI.  By  Hiroshige.  Tea-house  and  village,  a  winding  blue 

stream  and  deep  blue  hills  make  up  a  very  attractive  landscape. 

69.  RAIN  AT  TARUI.  By  Hiroshige.  A  pretty  rain  print  from  the 

Kisokaido. 

^Original  impression  and  coloring. 

(See  plate  No.  4.) 

70.  TORIMOTO  BY  HIROSHIGE.  A  tea-house  on  the  steep  side  of 

a  grey  mountain  commands  a  wide  outlook  of  the  river  valley. 

''■The  original  issue  with  the  mistake  in  the  number  (“No.  63’’ 
repeated  when  the  plate  is  realK  No.  64). 

71.  TSUMAGOME  STATION.  By  Hiroshige.  Hill  road,  richly  color¬ 

ed  and  looking  to  a  sky  with  rosy  streaks. 

*Very  fine  impression. 

72.  L'EGAMATSU.  By  Hiroshige.  Showing  the  Waterfall  from  the 

Kisokaido. 

*Originai.  impression. 

(See  plate  No.  4.) 


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COLLECTION  Of  MRS.  ADOLPHE  BORIE 


11 


n.ATK  4 


Kisokaido  Series 


No.  40. 

Hiroshige : 

iMitone  Spring 

No.  10. 

Yeisen : 

A  sain  a  Mt. 

No.  72. 

Hiroshige: 

Uegamatsu  Falls 

No.  75. 

Veisen : 

Warabi  Ferry 

No.  69. 

1  liroshige : 

Tarni  Rain 

No.  23. 

Yeisen ; 

Inagawa  Waterfall 

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JAPANESE  COLOR  PRINTS 


V 


KISOK-MDO— Concluded. 

73.  URAYA  FROM  THE  KISOKAIDO  BY  YEISEN.  Village  scene, 
on  a  yellow  ground,  with  volcanic  mountain  in  the  background. 


74.  WADA.  By  Hiroshige.  Tired  travellers  reach  the  highest  Moun¬ 

tain  Pass  on  their  journey,  a  curved  road  between  snowy  moun¬ 
tain  ranges.  Original  issue. 

(See  plate  No.  3.) 

75.  WARABI  NO  EKI.  By  Yeisen.  River  scene  from  the  Kisokaido, 

with  picturesque  Eerry  Boat  laden  with  people.  Cloudy  sky. 
*Original  impression. 

(See  plate  No.  4.) 

76.  YABUHARA  OR  TORII  TOGE  BY  YEISEN.  The  top  of  Torii 

pass,  with  peasant  women  loaded  with  faggots  passing  men 
seated,  resting  and  smoking. 

77.  YAWATA  STATION  BY  HIROSHIGE.  A  misty  summer  morn¬ 

ing,  with  tall  bamboos  waving  by  the  stream,  and  the  distant 
hills  impressed  without  outline  in  very  desirable  condition. 
*Unusually  fine  impression. 

?8.  YECHIGAWA  STATION  BY  HIROSHIGE.  A  beautiful  grey 
and  yellow-green  print  showing  the  long  pink  footbridge  over 
the  Yechi  River,  a  man  leading  a  black  bull  in  the  foreground. 
*Fine  impression. 


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COLLECTION  OF  MRS.  ADOLPHE  BORIE 


13 


PLATE  5 


No.  79.  Buncho  No.  80.  Harunobu 

IPPITSUSAI  BUNCHO:  1745-1796. 

His  best  examples  are  his  prints  in  hosoye  form. 

79.  ACTOR  AS  C  WOMAN.  Hosoye.  Her  robes  in  pale  ecru  gauf¬ 

fered  in  incrning  glories  in  aubergine  stripes,  while  her  rich 
soft  uchikake  of  deeper  tone  is  adorned  with  Iris  Blossoms  in 
gauffrage.  She  holds  a  fan  and  stands  near  a  Bell  of  turquoise 
green,  the  bell  tower  oxidising  into  faint  pink.  Slight  damage 
to  left  margin  near  the  bottom.  A  very  rare  print  particu¬ 
larly  THE  FIGURE  OF  A  WOMAN  BY  TUTS  ARTIST. 

SUZUKI  HARUNOBU.  1730-1770. 

The  artist  of  exquisite  delicacy;  the  Botticelli  of  Japan. 

80.  TWO  YOUNG  GIRLS  OF  THE  NOBILITY.  They  are  on  a 

verandah  in  pink  tones  with  a  Plum  Tree  in  bloom  at  the  en¬ 
trance.  One  is  seated  writing,  and  her  companion  carries  a 
tray  with  Pine  boughs,  their  robes  of  ecru  of  a  peculiar  luminos¬ 
ity  as  if  some  gold  had  been  used  in  the  printing  and  the  uchikake 
of  the  standing  girl  in  a  hichigata  pattern  in  gauffrage.  Mel¬ 
lowed  ])rint.  Signed.  Square  form. 


14 


JAPANESE  COLOR  PRINTS 


HARUNOBU— Continued. 


PLATE  6 


81.  A  SLEEPY  BEAUTY  AND  A  LETTER.  Square  form.  Signed. 

*A  dainty  little  Courtesan  getting  sleepy  over  the  long  love  letter  she 
is  writing;  the  young  Kamuro  attending  her  nodding  openly  with  down 
dropped  head  and  hand  relaxed  holding  a  fan.  The  accessories  of  toilet 
articles,  ando,  and  writing  case  make  a  charming  setting  for  the  little 
lady  seated  near  her  green  and  pink  Kaya  or  mosquito  sleeping  net. 
The  kiri  crest  in  gauffrage  on  the  screen  of  palest  yellow  and  the  wav¬ 
ing  green  of  bamboo  are  symbolical  of  her  youthful  devotion.  Very 

FINE  AND  RARE  ORIGINAL  IMPRESSION. 

82.  HASHIRAYE.  Two  young  girls  in  a  summer  shower.  Signed. 

Collector’s  (Japanese)  stamp  on  reverse. 

*Harunobu’s  most  delicate  CREATIONS  ARE  HIS  "rain  PRINTS”,  and  a 
hashiraye  with  two  figures  is  rare  indeed !  One  girl  in  delicate  blue, 
her  robes  blown  back  from  a  slender  girlish  leg  holds  a  pale  yellow 
umbrella  bordered  in  the  same  blue  over  her  companion  who  stoops  by 
the  Iris  Pond  to  rescue  a  toy  boat ;  the  undulating  lines  of  her  lavender 
robes  simulating  the  ripples  of  the  pond.  The  background  a  very  soft 
yellow  over  which  the  sharp  slanting  rain  is  falling. 

(See  plate  No.  26.) 


COLLECTION  OF  MRS.  ADOLPHE  BORIE 


15 


KATSUSHIKA  HOKUSAI :  1760-1849. 

Japan’s  Greatest  Artist. 

PLATE  7 


83.  HOKUSAFS  MOST  FAMOUS  BOOK:  “Fugaku  Hyakkei,” 
“The  Hundred  Views  of  Fuji,”  a  superb  set  of  compositions  in 
tinted  line.  First  Edition,  complete  in  3  volumes,  with  the 
pink  covers,  very  fine  register,  clear  and  good  condition,  dated 
1834.  Publisher:  Nishimura  of  Yedo.  Laid  in  Japanese  bro¬ 
cade  cover. 

*Excessively  rare  in  good  copies  of  the  first  edition  with  all  the 
famous  prints  “Fuji  in  Lightning,”  ‘‘Fuji  in  Snow  Storms,”  “Great 
Wave,”  “Drum  Bridge,”  “Rain  Storm,”  etc.,  in  their  original  condition 
as  issued.  The  Introductory  notice  is  one  of  the  great  pieces  of  litera¬ 
ture  of  the  world.  In  it  Hokusai  compares  himself  with  Fuji,  as  “all 
solitary  like  the  lonely  mountain,  and  he  wants  his  name  to  be  as  high 
as  its  peak — so  beautiful  is  the  Mighty  Mountain,  like  silver  in  winter 
for  snow,  in  moonlight  filled  with  white  beauty,  and  sometimes  steep 
and  dangerous.  Hokusai’s  soul  is  in  this  book  to  show  these  views  of 
the  sacred  mountain.”  On  plate  13,  Vol.  H  appears  Hokusai’s  portrait 
of  himself  painting  his  Beloved  Mountain.  (See  above.) 


16 


JAPANESE  COLOR  PRINTS 


HOKUSAI— Continued. 


PLATE  8 


No.  84 


84.  YENOSHIMA.  From  the  “36  Views  of  Fuji.”  Signed. 

*Fresh  and  crisp  impression  of  one  of  the  rarer  prints  of  the  series. 
An  unusual  printing,  note  the  very  fine  shade  of  blue  on  the  roofs  of 
the  village  and  the  slopes  of  Mt.  lAji,  and  the  equally  fine  fresh  green 
of  the  foliage. 

85.  HOKUSAI’S  “53  VIEWS,”  Chuban  or  square  form.  Complete  set 

of  the  original  issue  with  the  title  (54  pieces).  In  the  native 
box  case. 

*A  FINE  SET  IN  FRESH  AND  EARLY  COLORING,  Hokusai’s  Contrast  of 
broad  sweeps  of  color,  the  many  figures,  each  a  study  of  costume,  action 
and  sentiment,  the  humorous  play  of  his  wit,  all  serve  to  emphasize 
the  Japanese  love  for  travelling  about  and  admiring  the  beauties  of 
their  own  country.  As  Prof.  Fenollosa  says,  “It  is  an  age  when 
illustrated  guide  books  of  all  famous  scenes  abound”  and  in  his 
sympathy  with  nature  and  human  nature,  Hokusai  stands  unrivalled 
in  this  particular  “Guide.” 

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COLLECTION  OF  MRS.  ADOLPHE  BORIE 


17 


HOKUSAI— Continued. 

86.  HOKUSAI’S  “53  VIEWS.”  Koban  size.  Japartese  'illustrated 

book,  PRINTED  IN  COLORS.  “Traveller  at  the  Well,”  “Boys  on 
Black  Bulls,”  “Two  Men  in  the  Rain,”  and  the  “Farmer  Curry¬ 
ing  his  Horse”  are  some  of  the  better  known  prints  of  this  series. 
Original  edition  but  somewhat  timeworn. 

87.  YOSHINO  CHERRY  BLOSSOMS  from  the  “Flower,  Moon  and 

Snow”  series.  Signed. 

*Known  as  one  of  the  prettiest  prints  of  the  series  when  in  unworn 
condition  as  offered  with  the  blossoms  printed  in  gauffrag'e,  in  their 
soft  pink  masses. 

88.  THE  LONE  FISHERMAN.  From  the  “36  Views  of  Fuji”  series. 

Original  impression  but  mellowed. 

89.  UBAGA  YETSOKI.  From  the  “100  Poems.”  Signed. 

^Travellers  mounting  the  steep  path  to  the  left  view  Fuji  across 
mounting  waves  of  graded  blue. 

90.  TSUKUDAJIMA.  From  the  “36  Views  of  Fuji”  series,  showing 

the  small  boats  approaching  the  harbor.  Mellowed  print. 

91.  TAIKO  BASHI,  or  the  Drum  Bridge  at  Kameido  Temple.  Very 

rare  but  timeworn. 

92.  ONDEN  WATER  WHEEL,  from  the  “36  Views  of  Fuji”  series; 

TOKYO  VIEW,  from  the  same.  Original  impressions  but 
time  worn.  (2  pieces.) 

93.  FIVE  SMALL  HUMOROUS  PRINTS  BY  HOKUSAI.  Carica¬ 

ture  Dancing,  Fighting  with  Fans,  Dignity  Caricatured,  etc. 
(5  pieces.) 


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18 


JAPANESE  COLOR  PRINTS 


UTAGAWA  TOYOHIRO  1773-1828. 

He  died  young,  leaving  few  prints  and  his  work  expresses  a  rare 
sense  of  beauty. 

94.  TORCH  BEARER.  Narrow  panel,  the  man  seen  in  profile,  wearing 
aubergine  and  black  over  mustard  yellow.  Signed. 


TORII  KIYONAGA.  1742-1815. 

The  Fourth  Master  of  the  Torii  School,  who  lived  at  Yedo, 
considered  the  greatest  of  the  Torii,  with  a  wider  range  and  greater 
command  of  color  than  his  predecessors.  Noted  for  the  beauty  of 
his  women. 

95.  HASHIRAYE.  Signed.  Two  Courtesans  awaking  their  sleeping 

companion.  Above,  a  girl  leans  over  the  lazy  one,  while  below 
pushing  aside  the  Screen  is  seen  a  tall  and  lovely  figure  in  a 
Chrysanthemum  robe  over  many  folded  pink  underrobes. 

96.  COURTESAN  IN  BLACK  UNDER  A  NANTEN  TREE.  Hash- 

iraye,  signed  and  with  poem. 

A  PRINT  OF  NOBLE  SIMPLICITY  OF  LINE,  the  black  Unrelieved  save  for 
the  faint  pink  and  ecru  of  her  rich  brocade  obi  and  the  slight  “tan” 
of  the  wide  straw  sun-hat. 

(See  plate  No.  26.) 

ISODA  KORIUSAI:  1725-1788. 

Like  Yeishi,  Koriusai  came  of  the  Samurai  class  and  his  prints 
share  the  distinction  which  grace  the  Yeishi  broadsheets.  Strange 
says  “No  colour  printer  succeeded  better  with  the  difficult  propor¬ 
tions  of  the  hashiraye.” 

97.  HASHIRAYE.  The  Stolen  Letter.  A  play  on  the  famous  Japanese 

story.  A  youth  stands  on  the  Verandah  reading  a  letter  while 
above  his  Mistress  in  softest  rose  pink  robes  reads  with  the  aid 
of  her  hand  mirror.  Koriusai  has  introduced  a  frog  in  place  of 
the  retainer  who  is  usually  seen  peering  at  the  letter  from  under 
the  Verandah.  Eine.  subject,  fine  color  and  rare,  a  most 
desirable  triad  of  qualities. 

98.  HASHIRAYE.  A  Warrior  of  the  olden  time,  printed  in  mono¬ 

chrome.  Signed.  Eine  condition. 

(See  plate  No.  26.) 

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COLLECTION  OF  MRS.  ADOLPHE  BORIE 


19 


KORIUSAI — Continued. 

99.  BOY  WITH  A  FAN.  Celebrating’  the  “Boy’s  Festival  Series.” 

Square  print.  Signed. 

^Wonderfully  printed  in  old  aubergine,  ecru  and  fine  quality  of  “tan”, 
and  gauffrage. 

100.  BOY  SEATED  BEFORE  A  DRUM.  In  a  putty  colored  coat 

patterned  in  gauffrage  and  lined  with  pink ;  the  drum  a  fine 
“tan.”  Square  print.  Signed.  “Boy’s  Eestival  Series.” 

101.  BOY  TAPPING  A  TSUZUMI  on  his  shoulder.  Erom  the  “Boy’s 

Festival  Series.”  Signed. 

*Seen  at  full  face,  very  rarely  used  by  Japanese  artists,  with  gauffrage 
printing  and  early  “tan”  and  pinks. 

102.  BOY  PLAYING  THE  ELUTE.  Signed  square  print  from  the 

“Boy’s  Eestival  Series,”  with  effective  use  of  “tan”  in  the  back¬ 
ground. 

103.  BOY  HOLDING  A  DRUM.  Boys  Eestival  Series.  Well  printed 

with  gauffrage  and  “tan,”  though  having  three  holes. 

KUNISADA:  1786-1865. 

104.  ILLUSTRATED  BOOK  :  BROADSHEETS.  “Children’s  Series.” 

The  Story  of  the  Genji  Eamily,  the  famous  Clan  of  Japanese 
History  who  defeated  the  Taira  at  Dan  no  Ura  after  a  “thirty 
years  war.”  A  series  of  the  Lucky  Gods  and  Lucky  Children. 
22  full  page  single  prints  and  diptychs.  The  “Genji”  all  “album 
prints”  in  first  impressions  with  gauffrage  backgrounds ;  the 
children’s  series  contains  a  number  of  charming  Mother  and 
Baby  prints.  Original  Japanese  Binding  in  brocade. 

105.  GATHERING  BAMBOO  SHOOTS.  An  important  Kunisada 

Triptych,  the  little  boy  shrieking  with  delight  when  his  sister 
tumbles  over  in  her  effort  to  pull  up  the  shoots  ;  in  the  background 
is  a  lovely  water  view. 

*These  “Bamboo  Triptychs”  are  the  most  sought  for  among  the 
series. 

106.  IWAI  HANSHIRO  ON  A  BOAT.  A  splendid  composition  in 

black  and  ecru,  as  fresh  as  when  issued. 


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20 


JAPANESE  COLOR  PRINTS 


PLATE  9 


No.  108 


,  No.  107  J 


UTAGAWA  KUNIYOSHI:  1798-1861 

“An  artist  of  more  power  than  most  of  his  contemporaries.” 

107.  GATHERING  NORI  AT  LOW  TIDE.  Erom  the  Toto  Meisho 
Signed.  Oblong  broadsheet. 

*Excessively  rare  KUNIYOSHI  LANDSCAPE.  The  sceiie  is  near  Omori 
in  Tokyo  Bay,  and  is  one  of  the  best  Kuniyoshi  prints,  showing  great 
care  in  the  printing,  and  a  very  unusual  treatment  of  the  clouds  and 
sky.  The  publisher  was  Ryogoku  Kagaya,  who  was  the  son  of  the 
Printer  of  the  Sharaku  heads. 


108.  ASAMA  MOUNTAIN  IN  STORM.  Travellers  at  Usuitogei  look 
across  the  chasm  to  the  storm  clouds  centering  around  Euji,  an 
angry  cloud  as  a  flame  resting  on  the  peak.  Unusual  use  of 
blue,  green  and  aubergine.  Oblong  broadsheet.  Signed.  Pub¬ 
lisher;  Yamaguchi. 

*Kuniyoshi  landscapes  are  very  rare. 


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COU  ECTIOX  OF  MRS.  ADOLPHE  BORIE 


21 


OKUAIURA,  MASAXOBU:  1685-1764. 

A  publisher  and  bookseller,  his  opportunities  for  experiments  led 
to  his  invention  of  the  lacquer  print  or  urushi-ye. 

109.  LACQUER  PRINT.  Lady  with  an  incense  burner.  Signed.  Pub¬ 
lisher:  Yemiya  of  Shiba  Sbimmei.  Large  Hosoye. 

Excessively  rare  when  in  good  condition  as  offered.  With 
her  right  hand  she  holds  together  the  rich  folds  of  her  robes  of  applied 
tan  and  aubergine,  tied  with  an  obi  of  pale  yellow,  her  uchikake  of 
superb  lacquer  printing  has  a  butterfly  crest,  and  “beni”  collar. 


22 


JAPANESE  COLOR  PRINTS 


PLATE  11 


No.  Ill  No.  no 

TORII  KIYOMITSU:  1735-1785. 

The  third  leader  of  the  Torii  School.  His  prints  are  in  demand 
by  connoisseurs  for  their  artistic  qualities. 

no.  TWO  COLOR  HOSOYE  PRINT  IN  BENI  AND  GREEN. 
Signed. 

*SeRawa  Kikunojio  and  Ichikawa  Yaozo  as  lovers  under  a  Plum  Tree. 
.•\  VERY  FINE  IMPRESSION  ill  fresh  aiid  crisp  coloring,  a  slight  thinned 
place  in  the  blank  background. 


ICHIKAWA  TOYONOBU;  1711-1785. 

Pupil  of  Shigenaga,  he  made  the  earliest  attempts  in  two  and 
three  colors  and  is  noted  for  the  grace  on  his  female  figures. 

111.  LOVERS  IN  A  SPRING  SHOWER.  Two  color  print  in  beni  and 
green.  Narrow  panel  or  hosoye  form. 

*One  of  the  liest  primitives  in  the  collection.  The  Lovers  stand 
under  an  umlirella  by  a  Plum  Tree  in  bud  and  blossom.  The  rain  is 
so  slight  as  to  be  negligible,  but  no  one  can  withstand  the  charm  of  the 
young  sweethearts  under  the  umbrella  of  delicate  rose  and  Idack. 


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COLLECTION  OF  MRS.  ADOLPHE  BORIE 


23 


TOKAIDO'  SERIES  BY  HIROSHIGE 

First  edition  of  the  “fifty-three  views/’  “Tokaido  Go-Ju-San 
Eki  Fu  Kei  Tsiizuku  Yoko  Gwa” — Drawn  across  continuous  Views 
of  the  Fifty-Three  Stations  of  the  Tokaido.  Complete  set  of  the 
55  Views  (including  Yedo  and  Kyoto)  from  the  first  issue  of  the 
work  in  a  volume  of  oblong  sheets,  with  all  the  prints  in  the 
original  form.  One  or  two  have  been  “thumbed”  at  the  lower  edge 
but  fortunately  these  are  ones  that  are  not  of  the  first  importance. 

The  set  is  in  condition  known  as  “album”  prints,  having  been 
kept  in  that  form  and  not  exposed  to  the  deterioration  that  must 
come  in  the  passing  of  years  of  exposure  to  sun  and  smoke. 

They  retain  their  original  color  and  with  a  desirable  and  restrained 
use  of  black  and  nothing  has  been  done  to  close  the  original  “point 
holes”  (made  by  the  soft  paper  “thread”  that  held  the  set  together) 
in  or  near  the  inside  margins.  These  are  not  considered  a  detriment 
as  they  are  evidences  of  the  freshness  and  purity  of  the  printing. 

They  have  the  margins  as  issued. 

112.  AKASAKA  :  Guests’  Dining-  Room,  with  the  country  Geisha  dress¬ 

ing  in  another  room  to  go  and  entertain  them.  Only  state, 

earliest  coloring. 

113.  ARAI  WITH  FESTIVAL  BOATS.  A  very  gay  and  pretty  print 

with  all  the  charm  of  the  first  coloring  of  the  original  issues. 

114.  HORSE  FAIR  AT  CHIRYU.  First  state  without  the  hill  in  the 

background. 

115.  EJIRI.  With  distant  view  of  Miho  Beach.  A  beautiful  early  issue 

of  a  print  that  suffers  greatly  in  later  editions. 

116.  FUCHU.  Travellers  fording-  the  Abe  River.  The  only  state;  well 

printed  with  graded  green  and  blue  water. 

117.  FUJIEDA.  Chan  ging  horses  and  coolies.  First  issue  of  the 

only  state  with  the  beautiful  gradation  of  color  in  the  ground 

lost  in  later  issues. 

118.  FUJIKAWA:  Highway  scene  with  villagers  bowing  before  a 

Daimio’s  cortege.  Only  state,  first  issue  with  the  graded  blue 

and  orange  sky  with  clouds. 

119.  FUJISAWA.  The  only  state.  Torii  and  bridge  leading  to  Yugio- 

ji  Temple. 

120.  TARUI  OR  FUKUROI.  The  first  “bonfire”  print  in  the  first 

state  with  the  grey  curling  smoke  in  gauffrage. 

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24 


JAPANESE  COLOR  PRINTS 


HIROSHIGE’S  TOKAIDO— Continued 

121.  FUTAKAWA :  or  “The  Monkey  Race  Course.”  Only  state;  early 

coloring. 

122.  GOYU.  Tourists  and  women  “Inn  Runners.”  An  amusing  print. 

*First  state,  with  the  publisher’s  mark  in  the  circle  in  the  Tea-house. 

123.  HAKONE  LAKE.  First  state  and  coloring. 

^Connoisseurs  will  appreciate  the  soft  harmony  of  colors  in  this  early 
im.pression  of  the  “Painted  rocks”  so  different  from  the  crude  and 
glaring  combination  often  seen  in  the  later  printings. 

124.  HAMAMATSU.  The  second  “bonfire”  print,  showing  a  dreary 

winter  scene,  but  finely  printed  in  the  first  issue,  with  the  smoke 
in  gauffrage. 

125.  HARA:  FUJI  AT  EARLY  MORNING.  Fuji  dominating  the 

scene  and  in  the  exquisite  rosy  flush  of  dawn  that  disappears  in 
later  issues  of  this  print. 

126.  HIRATSUKA.  Nawate  Highway,  known  by  the  round  hill.  First 

state,  no  variations. 

127.  HODOGAWA.  Only  state.  Coolies  carrying  a  Norimon  across 

Shinkame  Bridge;  a  very  pretty  bridge  and  village  print  in  the 
earliest  coloring. 

128.  ISHIBE:  Me  River  Village.  Only  state  but  beautifully  printed 

earliest  issue  with  the  streaks  of  mist  in  their  first  perfection. 

129.  ISHIYAKLISHI.  Eirst  state  with  the  deep  blue  hill  in  the  back¬ 

ground. 

130.  KAKEKAWA.  Distant  view  of  Mt.  Akiha,  with  travellers  on 

the  turf  bridge  watching  flying  kites.  A  very  much  liked  “Windy 
Day”  print  in  the  first  issue. 

131.  KAMEYAMA:  CLEAR  WEATHER  AETER  SNOW. 

First  state  in  collector’s  conditon,  retaining  the  rosy  glow  over 
the  entire  sky,  beautifully  graded ;  the  icy  blue  grey  of  the  hills  as 
V  finely  graded,  and  retaining  the  original  touch  of  color  finely  restrained 

in  the  trunks  and  limbs  of  the  wind-swept  trees.  Mr.  Happer  describes 
this  as  “One  of  the  masterpieces  which  give  this  series  its  well  descrired 
renown.” 


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25 


HIROSHIGE’S  TOKAIDO— Continued 

PLATE  12 


132.  EVENING  SNOW  KAMBARA.  With  margins. 

^Considered  as  one  of  the  greatest  snow  prints  in  Japanese  art 
FIRST  state,  with  the  shaded  roofs  to  left  and  the  footprints.  A  small 
imperfection  in  the  paper  has  resulted  in  a  worn  spot  on  the  left  side, 
but  the  damage  is  negligible  when  compared  with  the  rich  beauty  of 
this  early  printing. 

133.  KANAGAWA.  Sunset.  Beautiful  water  print. 

*First  state;  The  cloud  forms  to  left,  no  posts  in  the  foreground 
in  the  water,  roof  angles  very  sharp  and  the  small  boat  near  the  large 
Junk. 

134.  KANAYA  EORD  ON  THE  01  RIVER.  A  wide  river  bed  much 

dreaded  by  passengers  on  account  of  the  difficulty  with  which  it 
is  forded. 

135.  KAWASAKI.  Kerry  boat  on  Ryogoku  River. 

*First  state,  with  the  man  on  the  raft  and  the  key-block  line  to 
Mt.  Fuji,  and  the  striated  sky. 

136.  KUSATSU :  Dispatch  bearer  carried  past  the  Post  House.  Only 

state,  in  the  earliest  coloring. 

137.  KUWANA;  Mouth  of  the  Seven  Ri  Ferry.  A  much  liked  boat 

print  in  the  earliest  coloring  of  graded  green  and  blue  sea. 

/ 

138.  THE  LONG  RED  BRIDGE  AT  KYOTO.  A  favorite  view  of  the 

dwellers  of  the  Western  Capital.  ^  Only  state  but  original 
coloring. 


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26 


JAPANESE  COLOR  PRINTS 


SECOND  SESSION 

No.  139-302 

HIROSHIGE’S  TOKAIDO  ROAD  SERIES— Continued. 


139. 

AHTSUKE  TEN  RYU  GAWA:  “Heaven  Dragon  River”  with 
its  Ninety-Mile  Rapids  crossed  here :  the  earliest  printing  with 
the  misty  shores  finely  rendered. 

140. 

MINAKUCHI.  Women  peeling  and  drying  Gourds  in  a  field  near 
a  pretty  village  street.  Only  state,  earliest  coloring. 

141. 

MIYA :  Temple  Festival,  Atsuta  Temple.  Only  state  with  the 
racing  coolies,  the  first  coloring  in  Torii  oxidising  with  time 

?  142. 

NARUMI.  Village  street  in  the  first  state,  with  the  “Hiro”  seal 
and  “Take-uchi”  on  the  shop  front. 

?  143. 

MORNING  SCENE  ON  NIHON  BASHI,  fine  early  printing  but 
little  thumbed  on  the  lower  margin.  The  earliest  block  with 
fewer  figures. 

144. 

NISAKA  PASS  THROUGH  SAYO  MOUNTAIN.  Showing 
the  “Stone  that  cries  at  midnight.”  The  only  state  but  original 
coloring. 

7  145. 

NUMAZU,  or  “Yellow  Evening”  with  Pilgrims  on  the  way  to 
Kompira.  A  rich  moonlight  view  in  the  earliest  coloring. 

146. 

ODAWARA :  Fording  the  Sako  River. 

*First  state,  with  only  two  figures  on  the  further  shore,  and  the 
original  and  beautiful  printing  on  the  “one  block”  hills  in  gauffrage. 

\ 

V  147. 

TIGER  RAIN  AT  OISO. 

*A  NOTED  RAIN  PRINT,  with  a  warm  yellow  sky,  a  very  rare  and  desir¬ 
able  mark  of  the  early  impressions,  and  the  “Tiger  Rain”  clearly  and 
sharply  defined. 

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COLLECTION  OF  MRS.  ADOLPHE  BORIE 


27 


HIROSHIGE’S  TOKAIDO— Continued. 


148. 

OKABE;  The  first  printing  with  the  coloring  of  the  original  issue, 
the  hill  being  the  same  shade  of  green  on  each  side. 

149. 

]\IAISAKA.  The  white  cone  of  Fuji  seen  at  Imaki  Point. 

*Reproduced  in  the  Happer  catalogue  as  one  of  the  finest  landscapes 
of  the  series.  Unfortunately  the  Borie  copy  has  an  imperfection  in 
the  paper  (in  the  sky),  although  the  earliest  issue. 

V'  150. 

MARIKO,  MEIBUTSU  CHAYA.  With  the  pretty  tea-house. 

*A  splendid  impression  with  margins,  retaining  the  beauty  of  the 
unfaded  rosy  “heni”  background,  which  throws  into  relief  the  young 
budding  white  plums.  First  state,  with  the  mis-printing  “Maru-ko” 
of  the  place  name. 

151. 

MORNING  MIST  AT  MISHIMA. 

*The  most  celebrated  print,  perhaps,  of  the  many  mist  prints  of 
Japanese  Art.  First  state  with  the  proper  blue,  the  trees  appearing 
from  the  mist  (as  they  should)  in  this  fine  early  printing. 

152. 

OKASAKI :  Fine  bridge  print,  in  the  first  state  with  original 
coloring. 

153. 

OKITSU.  The  only  state  carefully  printed.  Showing  the  “Fat 
Wrestlers”  being  forded  over  the  river. 

^  154. 

OTSU.  Tea-house  past  which  goes  a  string  of  picturesque  ox¬ 
carts.  Second  issue  (without  the  green  hill)  and  good  coloring. 

^  155. 

SAKA  NO  SHITA,  or  “Throwing-away-the-brush-Peak,”  a  say¬ 
ing  originating  in  the  despair  of  the  artist  to  render  its  beauty 
and  majesty.  Only  state,  first  issue. 

156. 

SEKI ;  Early  start  from  the  Post.  The  only  state  but  with  the 
fine  grading  of  the  ground  of  the  first  issue  and  the  splendid 
blue  of  the  large  Aztec-like  crests  of  the  hangings. 

157. 

SHIMADA.  Steep  Bank  of  the  Oi  River.  Only  state  fine  early 
coloring. 

’  ,  1 

158. 

SHIRASUKA  or  “Sea  View  Hill.”  The  only  state,  in  the  earliest 
coloring  of  a  sea  vista  which  Mr.  Happer  says  “delights  the  eye.” 

The  Walpole  Galleries,  10  East  49th  Street,  New  York 

28 


JAPANESE  COLOR  PRINTS 


HIROSHIGE’S  TOKAIDO— Continued. 


PLATE  13 


\/ 


159.  THE  RAIN  STORM  AT  SHONO.  Margins. 


No.  159 


No.  162 


*One  of  the  most  celebrated  storm  scenes  of  Japanese  Art.  An 
early  block  where  a  gust  of  wind  sweeps  across  the  scene.  Note  also 
the  characters  on  the  umbrella,  a  mark  of  the  First  state.  The  point 
holes  in  the  side  cannot  be  considered  a  defect  as  they  are  evidences 
of  the  first  freshness  of  this  “album  print.” 


^  160.  TOTSUKA :  Branch  road,  main  street  with  Inn. 


*First  state,  with  man  getting  off  the  horse,  and  the  side  of  the 
Tea  house  Kome-ya  open.  The  sky  is  striated  and  the  middle  tree  has 
not  been  removed. 


161.  DAWN  AT  SHINAGAWA.  First  state,  as  described  in  the 


Happer  catalogue,  with  fewer  figures,  and  the  sky  with  the  pink 
of  dawn  clouds  in  the  blue.  Note  the  first  register  shown  in  the 
sails  and  roofs. 


V  162.  TSUCHIYAMA  SPRING  RAIN.  Margins. 


*SUPERB  FIRST  ISSUE  OF  THIS  RENOWNED  RAIN  STORM  PRINT,  with  the 
beautiful  original  coloring,  particularly  of  the  ground  and  trees  seen 
through  a  sharp  downpour  under  which  the  Damio’s  cortage  in  the 
foreground  bend  their  heads  in  picturesque  yellow  mushroom  hats. 


(See  illustration  above.) 


163.  YOKKAICHI,  SAN  CHO  KAWA.  Also  a  famous  storm  print. 


showing  the  sweep  of  the  wind  and  the  mad  race  for  the  hat 
down  the  embankment. 

*First  state,  without  the  shadow  on  the  man’s  cloak. 

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COLLECTION  OF  MRS.  ADOLPHE  BORIE 


29 


HIROSHIGE’S  TOKAIDO— Continued. 

164.  YOSHIDA:  The  long  bridge  over  the  Toyo  River,  in  the  earliest 


coloring  with  the  aubergine  striated  sky. 

y  165. 

YOSHIWARA,  celebrated  as  the  only  point  on  the  Tokaido  road 
where  Fuji  is  seen  to  the  left. 

*First  state,  and  a  very  fine  impression. 

7  166. 

YUI.  SATTA  PEAK  AND  MINE.  Fine  early  printing  with 
view  of  Fuji  beyond  well  graded  blue  water,  and  the  orange 
sky  at  the  top. 

167. 

HISHIKAWA  MORONOBU.  1646-1695. 

Son  of  an  Embroiderer,  who  became  the  creator  of  a  popular  style. 

FOUR  MEN  AT  A  BARRED  WINDOW.  Signed.  Oblong 
small  print.  Note  the  broad  spacing  and  blots  of  color  for  which 
this  artist  was  famous. 

168. 

MORONOBU  OR  SUKENOBU. 

THREE  GIRLS  DRESSING.  Square  print  of  fine  quality  and 
condition  in  black  and  white.  Unsigned,  but  probably  the  work 
of  Moronobu. 

169. 

SHUNKO.  1770-1800. 

Pupil  of  Katsugawa  Shunyei.  His  prints  are  rare. 

TRIPTYCH  SHOWING  SHIROKIYA  ON  NIPPON  BASHI. 
The  blue  silk  curtains  of  the  shop  with  large  lettering  in  white 
form  an  effective  background  for  the  many  colored  robes  of  the 
women,  passing,  shopping  and  entering.  Signed.  Fine  print 
in  g'ood  condition. 

170. 

KATSUGAWA  SHUNSEN ;  About  1795. 

His  prints  are  rare  as  he  devoted  himself  almost  entirely  to  faience. 

A  GEISHA  DRESSED  IN  A  CARP  ROBE,  her  obi  in  bold  black 
pattern.  Kakemono  print,  toned. 

171. 

SHUNZAN.  1750-1800. 

An  artist  of  force  and  originality ;  pupil  of  Shunsho. 

GROUP  AT  THE  GATE  OE  ASAKUSA  TEMPLE,  TOKYO. 
Mellowed  by  time  but  much  liked  for  the  group  in  their  pretty 
sun-hats,  interest  centering  in  the  soft  black  robe  of  the  central 
figure. 

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m 


30 


JAPANESE  COLOR  PRINTS 


PLATE  14 


No.  172 

KITA(3  MASANOBU.  1761-1816. 

His  prints  are  very  few  as  he  is  also  famed  as  novelist  and  poet 
under  the  name  of  Santo  Kyoden. 

172.  TAKIGAWA  AND  A  COMPANION.  Two  of  the  most  famous 
Courtesans  of  Japan  of  the  House  of  Atsukiya.  From  the  fam¬ 
ous  “Beautiful  Girls  as  iu  a  Mirror”  Series.  Each  is  accompanied 
liy  a  Shinzo  or  iMaid  and  two  little  Kamuros,  and  the  rich  bril¬ 
liancy  and  freshness  of  their  robes  of  brocade  form  a  Kaleido¬ 
scope  of  bewildering'  beauty  enhanced  by  the  subtle  use  of  black. 
Date,  1784. 


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COLLECTION  OF  MRS.  ADOLPHE  BORIE 


31 


KITAO  MASANOBU— Continued. 

173.  YOSHIWARA  SHIN  BIJIN  AWASE  JIJITSU  KAGAME 

“New  Beautiful  Yoshiwara  Girls  All  Together  Written  Down  as 
in  a  Mirror.”  Kokoiioe  and  Homachi  of  the  House  of  Matsuka- 
niya.  Kokonoe  is  shown  directing  a  Maid  with  a  tray  while 
Elomochi  amuses  herself  with  her  music,  wearing  a  beautiful 
white  gown  in  a  gauffrage  pattern,  her  black  uchikake  slipping 
from  her  shoulders.  Date  1784.  Publisher:  Tsutaya. 

*Fine  original  coloring,  noteworthy  for  the  fine  quality  of  “beni'’ 
used  in  the  printing.  The  book  which  was  issued  in  Yedo  in  1784 
in  14  full-sized  pages  of  illustrations  in  color  making  7  double-page 
pictures,  is  considered  one  of  the  finest  books  ever  produced  in  Japan. 
All  the  plates  are  described  with  the  4  pages  of  text  sold  with  the 
above.  Signed  Kitao  Shinsai  Masanobu. 

174.  HO'L'SE  Ob'  CHOSHIYA.  The  Beauty  Elinazuru,  her  rich  robes 

tied  with  a  purple  obi,  with  her  two  Komuro  dressed  to  match 
holds  up  a  blue  robe  to  her  companion  Naraeru  who  is  seated 
curled  up  in  rohes  while  the  maid  blows  on  the  fire  in  Hibachi 
of  black  lacquer.  Date,  1784. 

^Original  impression  and  coloring. 


175.  COURTESANS  OE  THE  HOUSE  OE  SEGIYA  EXAMINING 

BROCADE.  E'rom  the  “Beautiful  Girls  as  in  a  Mirror”  series. 

Segawa,  famed  for  her  beauty,  and  Alatsuto,  ecptally  beautiful, 

with  their  attendants.  Date,  1784.  Signed.  Publisher  Tsutaya. 

*Remarkable  for  the  use  of  “beni”  and  old  cherry  color  and  black, 
as  fresh  as  if  just  printed. 


176. 


THE  MOST  BEAUTIFLTU  COURTESANS  OE  THE  HOUSE 
OE  O’MONGIYA.  Erom  the  “Beautiful  Girls  as  in  a  Mirror” 
series.  Showing  Takasode,  Hitomoto  and  a  companion  in  robes 
of  rich  colors  and  black  attended  by  Shinzo  and  little  Komuros. 
Signed.  Date,  1784.  Publisher:  Tsutaya. 

FAMOUS  example:  note  the  quality  of  the  gauffrage  printing  in 
the  salmon  pink  dress  of  the  lovely  Hitomoto,  repeated  in  that  of  her 
kneeling  Shinzo  adjusting  a  hairpin. 


177.  HOUSE  OE  KADOTO  MAYA.  With  the  Beautiful  Women  at 
their  various  occupations.  From  the  “lleautiful  Girls  in  a 
Mirror”  Series.  Date,  1784. 

*Hanamurasaki,  a  noted  beauty  wears  a  fishnet  robe  over  black, 
her  kneeling  Shinzo  in  “divine  violet” ;  Koimurasake  is  lighting  her 
pipe  and  her  companion  looks  at  rolls  of  brocade,  wearing  a  rose 
pink  brocade  tied  with  black.  The  early  color  and  the  gauffrage 
printing  in  the  robe  so  fine  as  to  look  like  embossed  work. 


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32  JAPANESE  COLOR  PRINTS 

KITAO  MASANOBU— Continued. 


PLATE  15 


178.  HOUSE  OF  YOTSUMIYA.  A  balcony  scene,  with  Five  Women. 

From  the  “Beautiful  Girls  in  a  Mirror”  series. 

*Fine  original  impression.  The  Courtesan  Utagawa,  in  a  green 
uchikake  over  gauffered  white  under-robes  holds  a  tablet,  while  her 
companion  Nanasata  in  pale  blue  tied  with  pink  brocade  obi  and  black 
uchikaka  reads  a  letter.  A  well  balanced  and  beautiful  grouping  of 
Five  Women.  Date  1784. 


179.  MOUNTAIN  TEA-HOUSE.  People  on  the  verandah  admire  the 

view  stretched  out  beneath  them.  Very  soft  tones,  in  pink  and 
pearl  gray  with  a  touch  of  black. 

180.  GEISHA  LEAVING  A  TEA-HOUSE.  Winter  night.  A  maid 

with  a  light  shows  her  to  the  door,  and  behind  her  is  shadowed 
the  gay  scene  which  she  is  leaving.  Diptych,  square  form. 
Unsigned. 


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COLLECTION  OF  MRS.  ADOLPHE  BORIE 


33 


TOICHI. 

Well  designed  and  colored  prints  from  an  artist  whose  name  does 
not  appear  in  Ficke,  Strange  or  other  reference  books  consulted. 

181.  TRANSPLANTING  A  CHERRY  TREE.  Three  coolies  stagger¬ 

ing  under  the  tree  which  is  in  full  bud:  Two  Coolies  transplant¬ 
ing  Rice  in  the  Rain.  Boys  Dancing;  Thunder  Devil  held  under 
a  hot  plate.  (4  prints.) 

TOYOHARU.  1733-1814. 

Fenollosa  places  him  as  above  even  Shunsho  in  genius. 

182.  THE  SEVEN  LUCKY  GODS.  Benten  with  her  lute,  Jurojin, 

God  of  Wisdom,  Daikokti,  Ebisu,  etc. 

*Hashiraye  in  printing  of  beni,  old  pink,  and  other  early  colors, 
but  mellowed. 

TOYOKUNI  1.  1769-1825. 

His  subjects  are  treated  with  dignity  and  his  color  is  always  good. 

183.  THREE  GIRLS  IN  A  PRETTY  GROUP.  Broadsheet.  Signed. 

*They  are  clustered  like  butterflies  and  their  flowing  robes  of  violet 
and  black,  green  and  pink,  are  not  unlike  the  soft  wings  of  a  moth. 

184.  THE  EAN  SHOP :  A  WELL  KNOWN  TRIPTYCH.  The  Pan 

Shop  of  Suyehiroya,  with  girls  making  and  selling  fans ;  the 
centre  sheet  showing  a  pretty  flirtation  between  a  youth  and  a 
young  girl  who  is  selling  him  a  blue  fan.  Signed. 

*A  FAMOUS  GROUPING. 

185.  TRIPTYCH  BY  TOYOKUNI  1.  Three  Noblemen  and  their 

Retainers  meeting;  fine  use  of  old  red  and  black  in  their  robes. 
Signed :  Publisher :  Kawashige,  an  early  and  fine  producer  of 
these  prints. 

186.  THEATRE  SCENE.  TRIPTYCH.  Kabugiza  Theatre,  Tokyo, 

interior  with  scene  in  action  and  the  house  crowded  as  the  play  is 

popular  or  “oiri”  as  they  say.  Signed. 

*Notable  for  the  skilful  use  of  masses  of  people,  each  with  different 
individual  characteristics. 

187.  CIRCULAR  PRINT  ON  A  BROADSHEET.  Very  rare  ex¬ 

ample  by  Toyokuni  showing  his  favorite  pyramidal  composition 
(this  time  in  circular  form)  of  three  actors,  Yasusuke  as  a  lady 
with  Arugero  and  Santsugoro.  Effect  of  ecru,  mauve  and  dull 
green. 


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34 


JAPAXESE  COLOR  PRIXTS 


TOYOKUXI  I. 

188.  jMATSUYIOTE  KOSHIRO  in  a  splendid  white  robe  bordered  in 

wide  black  and  patterned  in  the  same  standing'  near  the  sea. 
Extremely  rare  when  in  such  fresh  condition. 

189.  ICHIKAWA  DANZO  APPROACHED  P.Y  A  GHOST.  Very 

fresh  printing  in  rose  pink,  aubergine  and  pale  yellow. 

190.  IWAI  HANSHIRO  HAULING  A  TRUNK  EROM  THE 

WA\^ES. 

191.  SAWAMURA  GENNOSUKE  AS  A  LADY.  Wearing  a  long 

gown  of  cherry  leaf  green  gauffraged  with  the  flowers,  tied  with 
an  obi  of  softest  black. 

TOYOKUNI  11.  1787-1865. 

Who  produced  much  that  is  artistic  and  of  great  decorative  quality. 

192.  SUMMER  AMUSEMENT  ON  SUMIDA  RIVER.  A  well  known 

triptych  showing  boats  under  Ryogoku  Bridge,  whose  passengers 
are  lazily  amused  on  a  warm  day  by  the  antics  of  a  crowd  of 
“water  conjurers.”  Signed.  Fine  condition. 

*These  bathing  prints  are  scarce ;  they  command  attention  for  the 
quality  of  printing  flesh  under  water. 

HIROSHIGE’S  “MARUSEI”  TOKAIDO. 

Another  series  of  the  Tokaido  Road  prints  published  by  Marusei 
in  the  middle  period  celebrated  for  extreme  delicacy  of  execution ; 
they  are  sought  for  because  of  their  greater  simplicity  and  refinement, 
and  are  much  rarer  than  the  better  known  series.  In  1842  began  the 
so-called  “Prohibition  Period”  when  all  sale  of  actor  and  courtesan 
prints  was  forbidden.  This  redoubled  the  demand  for  landscapes  and 
the  present  series  known  as  the  “Marusei  Tokaido’’  was  Hiroshige’s 
reply  to  that  demand. 

Special  attention  is  called  to  the  set  which  is  truly  remarkable  for 
freshness  and  brilliancy ;  they  have  full  margins,  and  having  been 
secured  by  the  advice  of  Mr.  J.  S.  Plapper,  their  condition  leaves 
nothing  to  he  desired.  Complete  in  55  sheets. 

193.  ARAL  Known  as  one  of  the  most  beautiful  “blue”  water  views. 

Clearly  printed,  Fuji  entirely  white  (original  paper)  the  sail¬ 
boats  the  same  and  the  foreground  beyond  the  hills. 

*It  is  difficult  to  express  the  difference  in  these  clear  fresh  block 
printings  from  the  ordinary  impressions.  An  examination  of  their 
fine  register,  and  careful  workmanship  will  enable  the  collector  to 
bear  in  mind  the  three  salient  points  : 

Condition  ;  original. 

Registration  :  perfect. 

Desirability :  from  the  standpoint  of  Beauty  demanded  by  various 
tastes. 

The  Walpole  Galleries,  10  East  49th  Street,  New  York 


COLLECTION  OF  MRS.  ADOLPHE  BORIE 


PLATE  16 


No.  222.  Miya 

Xo.  223.  .Minaguclii 

Xo.  206.  Hisaka  Pass 


1 1  iro.sliige-  .M  arusei  Tokaido 
Xo.  202. 
Xo.  199. 
Xo.  204. 


Hakone  Xight  Scene 
I'uji  Ye  Rain 
Hamamatsu 


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36 


JAPANESE  COLOR  PRINTS 


HIROSHIGE’S  “MARUSEI”  TOKAIDO— Continued. 

194.  AKASAKA.  Village  street  with  the  Inn  and  shops,  showing  good 

use  of  green  and  two  tones  of  blue. 

195.  CHIRIFU.  The  River  Road  with  the  almost  nude  Coolies  and 

their  yellow  bales. 

196.  NIGHT  SCENE  AT  EUCHU.  A  very  fine  impression  with  ar¬ 

riving  and  departing  travellers. 

197.  FUJIKAWA.  A  winding  road  between  blue  green  hills  with  a 

Daimio  and  retainers  approaching. 

198.  FUJISAWA.  Night  scene  with  many  people  passing  the  Torii. 

199.  FUJIYE  RAIN :  MARUSEI  TOKAIDO.  A  celebrated  ‘Tain 

print” ;  the  coolies  soaked  in  the  downpour,  and  the  effect  of  the 
old  pines  seen  through  the  mist  in  printing  of  remarkable  quality. 

(See  plate  No.  16.) 

200.  FUTAKAWA.  Travellers  arriving  at  the  Post  Station  on  the 

hilltop. 

201.  GO  YU.  Travellers  on  the  river  road  pause  under  a  beautiful  old 

pendant  willow  to  admire  the  View  of  Mt.  Fuji  between  a  break 
in  the  green  hills. 

*Very  clear  and  beautiful  impression. 

202.  HAKONE  ON  THE  TOKAIDO.  A  daring  composition  boldly 

rendered.  A  mountain  path  at  night  crossed  by  two  rugged  pine 
trees,  coolies  carrying  flaming  torches  to  light  a  traveller  borne 
in  a  Kago. 

(See  plate  No.  16.) 

203.  HIRATSUKA.  A  field  path  shaded  by  large  trees  leads  to  a 

little  village,  a  cluster  of  yellow  roofs  at  the  foot  of  a  brown 
hill. 

204.  HAMAMATSU  FROM  THE  MARUSEI  TOKAIDO.  Rough 

waves  pitch  and  toss  the  little  boats  near  the  shore  where  three 
^  men  pause  under  the  two  old  Pine  Trees. 

(See  plate  No.  16.) 

>  The  Walpole  Galleries,  10  East  49th  Street,  New  York 

0 


COLLECTION  OF  MRS.  ADOLPHE  BORIE 


37 


HIROSHIGE’S  “MARUSEI”  TOKAIDO— Continued. 

205.  KARA  ON  THE  TOKAIDO.  A  little  village  in  the  foreground, 

a  stretch  of  grey  and  icy  rice  fields,  foothills  of  green,  a  higher 
range  of  blue  hills  their  tops  catching  the  light,  and  then  Mt. 
Fuji  dominates  the  entire  background  with  white  mist  curling 
over  the  steep  bluish  grey  heights. 

(See  plate  No.  18.) 

206.  HISAKA:  MARUSEI  TOKAIDO  SERIES.  Travellers  passing 

the  “Stone  that  cries  at  midnight”  according  to  th«  old  legend ; 
the  ground  of  pale  yellow  shading  into  green,  and  the  graded 
blue  of  the  sky  with  drifting  white  and  bluish  clouds  make  this 
a  notable  print. 

(See  plate  No.  16.) 

207.  HODOGAYA  ON  THE  TOKAIDO.  A  noted  snow  landscape. 

*Eamous  snow-scene  in  flawless  collector’s  condition.  In  the 
\JL/  grey  background  and  softly  graded  blue  of  the  water  is  seen  the  “grain 

of  the  wood  block”  showing  the  crispness  and  brilliancy  of  the  impres¬ 
sion.  The  unrivalled  purity  of  the  snow  is  shown  by  the  absence  of 
all  printing. 

(See  plate  No.  17.) 

208.  ISHIBE.  A  blue  stone  lantern,  a  little  group  of  trees  break  the 

view  of  shops  and  inns. 

209.  ISHIYAKUSHI.  The  Post  Station  with  groups  of  travellers. 

Night  scene. 

210.  KAMBARA  ON  THE  TOKAIDO.  Pink  and  Aubergine  boats 

filled  with  passengers  approach  the  shore  under  deep  green 
hills,  beyond  which  rises  Fuji  clear  and  white  in  a  sky  toned  with 
orange. 

(See  plate  No.  18.) 

211.  KAMEYAMA.  A  castle  moat,  blue  water  and  a  foreground  of 

clear  yellow  of  great  purity  of  tone. 

212.  YEDO  BAY  AT  KANAGAWA.  Twilight  scene,  with  an  enchant¬ 

ing  row  of  yellow  roofed  tea-houses  on  the  shore,  many  little 
boats  putting  into  the  harbor. 

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38 


JAPANESE  COLOR  PRINTS 


HIROSHIGE'S  “AIARUSEr’  TOKAIDO-Continued. 

PLATE  17 


No.  226. 
No.  219. 
No.  216. 


Hiroshige 

Numatsii 
iVlariko  Snow 
Kuwana  Ferry 


iNIarusei  Tokaido 
No.  235. 
No.  241. 
No.  207. 


Seki  Night  Snow  . 

Totsuka 

Hodogaya 


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COLLECTION  OF  MRS.  ADOLPHE  BORIE 


39 


HIROSHIGE’S  “MARUSEI”  TOKAIDO— Continued. 

213.  KANAYA.  With  the  Oi  River  flowing  at  the  foot  of  the  clear 

yellow  and  green  hill ;  a  rosy  horizon  beyond  line  of  blue  hills. 
Very  fresh  and  clear  impression. 

214.  KAWASAKI.  Ferry  boats  crossing,  and  coming  directly  toward 

the  spectator,  a  full  sailed  barge. 

215.  KUSATSU.  An  enchanting  view  of  Lake  Biwa  and  the  ranges 

of  hills  in  blue  tones  beyond ;  a  few  trees  in  the  foreground  and 
the  yellow  barges  break  the  blue  expanse  of  the  rippling  waters 
of  the  lake. 

*Very  fine  impression  of  a  rare  print. 

216.  KUWANA :  MARUSEI  TOKAIDO.  An  Aubergine  Ferry  boat 

under  billowing  sail  sweeps  through  the  foreground  on  its  way 
to  Kuwana  Harbor ;  a  little  flight  of  birds  and  misty  clouds  add 
to  the  artistic  effect. 

(See  plate  No.  17.) 

217.  KYOTO.  A^iew  from  the  Sanjo  Bridge. 

218.  MAISAKA.  Sailboats  drawn  in  under  the  lee  shore,  with  the  tow¬ 

ering  Imaki  point  whose  rich  green  dominates  the  print. 


219.  MARIKO  SNOW  FROM  THE  MARUSEI  TOKAIDO.  A 


4 


noted  and  very  rare  snow  print. 


^Flawless  impression  in  collector’s  condition,  retaining  all  the 
original  purity  of  the  first  register,  including  the  pearly  mica  band  at 
the  top  simulating  ice  crystals. 

(See  plate  No.  17.) 


220.  MISHIMA.  Very  fine  printing  of  a  startling  composition.  Note 
the  grain  of  the  block. 


221.  MITSUKE.  A  very  rare  water  print.  Artist’s  impression  and 
condition. 


222.  MIYA  ON  THE  TOKAIDO.  A  lovely  water  print  of  graded 
blues.  Eight  loaded  pink  and  yellow  boats  in  the  harbor,  while 
five  more  approach  under  full  sail. 

(See  plate  No.  16.) 


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40 


JAPANESE  COLOR  PRINTS 


HIROSHIGE’S  “MARUSEI”  TOKAIDO— Continued. 

223.  MINAGUCHI.  MARUSEI  TOKAIDO.  A  pink  and  grey  moun¬ 

tain  path  with  traveller  and  coolie  leading  a  black  ox,  between 
rolling  hills  of  tender  Bamboo  green,  the  trees  in  foliage  of 
deeper  note  with  great  masses  of  white  clouds  rising  into  the 
sky  of  purest  blue. 

(See  plate  No.  16.) 

224.  NARUMI.  Two  women  gossiping  in  a  village  street  lined  with 

shops.  Fine  register  and  clear. 

225.  NIHO’N  BASHI.  The  great  arriving  and  departing  place  of  all 

Japan.  Very  fine  printing  dominated  by  a  white  Fuji. 

226.  NUMADZU  ON  THE  TOKAIDO.  Fuji,  down  whose  slopes 

pours  melting  snow  rises  sharply  above  foothills  and  rice  fields. 

*A  FAMOUS  PRINT  IN  FLAWLESS  COLLECTOR’S  CONDITION  and  an  exquisite 
harmony  of  pearl  grey  and  faint  yellow;  the  little  village  an  enchant¬ 
ing  pink  and  the  castle  tower  in  lapis  lazuli  blue. 

(See  plate  No.  17.) 

227.  ODAWARA  WITH  THE  FORD  OF  THE  SAKO'  RIVER.  Also 

celebrated  as  a  fine  blue  print. 

228.  OGAWA.  Peasants  working  in  the  marshy  rice  fields,  shaded  by 

Giant  pines  near  a  fine  old  stone  lantern  and  Torii. 

229.  OISO.  Eadies  under  Pine  and  Pendant  Willow  admire  a  lovely 

stretch  of  water  in  three  tones  of  blue,  and  a  rosy  horizon  beyond. 

230.  OKABE.  The  grey  road  leading  up  Utsu  Hill,  printed  in  a  fine 

Camellia  leaf  green,  the  foreground  in  sunny  yellow  and  light 
tan.  Signed.  Full  margins. 

231.  OKASAKI.  A  much  liked  Bridge  and  River  print;  waving  rice 

fields  with  ripe  grain,  a  grey  roofed  village,  the  castle  and  white 
mist  creeping  up  a  mountain  of  cool  blue,  all  combine  to  make 
a  most  attractive  scene. 

232.  OKITSU  O'N  THE  TOKAIDO.  In  the  foreground  a  Sampan 

under  full  sail  moves  slowly  between  the  spectator  and  Mt.  Fuji 
rising  in  softly  graded  bluish-white  beyond  grey  hills. 

(See  plate  No.  18.) 

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COLLECTION  OF  MRS.  ADOLPHE  BORIE 


41 


HIROSHIGE’S  “MARUSEI”  TOKAIDO— Continued. 


Hiroshige.  Mariisei  Tokaido 

No.  239.  Shono 
No.  232.  Okitsu 
No.  205.  Hara 


No.  210.  Hambara 
No.  246.  Yoshiwara 
No.  243.  Yejiri 


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42 


JAPANESE  COLOR  PRINTS 


HIROSHIGE’S  “MARUSEI”  TOKAIDO— Continued. 

233.  OTSU.  A  village  street  with  the  many  customary  scenes  of 

Japanese  Life,  women  quarreling  over  travellers,  etc. 

234.  SAKANOSHITA.  A  bold  composition  of  steep  hills  by  a  rushing 

river,  with  a  few  travellers  on  the  road. 

235.  SEKI  NIGHT  SNOW.  MARUSEI  TOKAIDO.  Heavy  snow 

of  bluish  tinge  over  Torii,  Temple  and  Pine  Trees,  with  a  few 
travellers  struggling  past.  Night  is  falling  quickly,  the  sky  a 
deep  greyish  black  with  snow  still  falling. 

An  artist’s  impression  in  collector’s  condition,  flawless  impression 
retaining-  the  pearly  mica  printing  of  the  upper  sky. 

(See  plate  No.  17.) 

236.  SHI  MAD  A.  Passengers  being  carried  across  the  Oi  River  Ford, 
*  admire  a  snowy  Fuji  rising  over  a  range  of  hills  of  very  unusual 

coloring. 

237.  SHINAKAAVA.  River  road,  and  tea-house. 

* 

238.  SHIRASUKA.  A  striking  composition,  the  rounded  yellow  and 

green  hills  to  the  right  rise  almost  directly  from  the  water. 

239.  SHONO  FROM  THE  MARUSEI  TOKAIDO.  The  well  known 

“bonfire”  print  of  this  series,  retaining  the  original  orange  of  the 
flames,  and  the  pink  of  the  budding  trees  which  are  printed  in 
gaufifrage. 

(See  plate  No.  18.) 

240.  TARUI :  WINDY  DAY  WITH  KITES  P'LYING.  All  the  rich 

original  coloring  retained. 

241.  TOTSUKA:  MARUSEI  T(JKAIDO.  Fuji  to  the  right  in  a  sky 

of  delicate  gradations  and  deep  blue  tones,  with  grey  and  auber¬ 
gine  foothills,  and  the  “Three  Trees”  shading  the  travellers  on 
the  hill  road  to  the  left. 

(See  plate  No.  17.) 

242.  TSUCHIYAMA.  Superb  impression  of  a  very  rare  blue  and 

green  print.  The  river  of  finely  graded  blue  is  filled  with 
boulders  of  grey  stone. 


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COLLECTION  OF  MRS.  ADOLPHE  BORIE 


43 


HIROSHIGE’S  “MARUSEI”  TOKAIDO— Concluded. 

243.  YEJIRI^FROM  THE  MARUSEI  TOKAIDO.  A  famous  “water 

print,”  Euji  in  grey  tones  with  melting  snow  purely  white,  the 
foothills  in  their  original  grey  touched  with  rose,  and  the  sky 
with  drifting  clouds  obscuring  the  blue. 

(See  plate  No.  18.) 

244.  YOKKAICHI.  The  pink  Torii  with  a  man  making  friendly  ad¬ 

vances  to  a  white  dog.  Very  still  and  peaceful,  utterly  unlike 
the  better  known  “Yokkaichi”  of  the  Tokaido  with  the  mad 
race  for  the  hat  down  the  embankment. 

245.  YOSHIDA.  Celebration  of  the  Festival  of  the  Fifteenth  Day  of 

the  Sixth  Month,  with  admiring  villagers. 

*Very  fine  first  printing,  showing  the  grain  of  the  wood  block  on 
the  sandy  beach. 

246.  YOSHIWARA :  MARUSEI  TOKAIDO.  A  beautiful  fresh  and 

crisp  impression  of  the  famous  “Pine  Tree  Path,”  the  only  point 
on  the  road  where  Mt.  Fuji  is  seen  to  the  left. 

(See  plate  No.  18.) 

247.  YUI :  SATTA  PEAK,  with  the  Inn  at  the  foot,  the  grey  cliffs 

towering  out  of  sight  over  a  stretch  of  water  of  fine  blue,  the 
undulating  waves  breaking  on  the  shore. 


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44 


JAPANESE  COLOR  PRINTS 


PLATE  19 


UTAMARO,  1754-1806 

Celebrated  for  the  rare  combination  of  dignity,  delicacy  and 
harmony  of  color,  and  as  a  painter  of  the  human  figure  he  has  no 
equal  in  Japanese  Art. 


248. 

t  fi^ 


YAOYA  OHICHI.  Mistress  of  Kosho  Kichisaburo  and  the 
heroine  of  the  famous  love  story.  Signed  and  with  bird  seal. 

*A  PRINT  DISTINGUISHED  FOR  THE  USE  OF  MASSED  BLACK  IN  WHICH 
UTAMARO  WAS  UNRIVALLED.  Her  robes  unrelieved  save  for  the  touch 
of  palest  rose  at  the  throat,  and  the  dull  blue  of  obi  and  hair-ribbon, 
Forming  a  pair  with  the  following  print,  and  with  the  same  unusual 
use  of  an  additional  block  of  fretted  clouds  in  the  background. 


249. 


KOSHO  KICHISABURO.  Seen  at  half  length.  His  orange  col¬ 
ored  robe  bordered  with  velvety  black,  repeated  in  the  thick 
masses  of  black  hair  dressed  high  on  his  head.  Signed  and  with 
bird  seal. 

*Brilliant  IMPRESSION,  note  the  gauffrage  printing  in  the  fretted 
clouds  in  the  background,  a  most  unusual  use  of  an  additional  block 
by  Utamaro. 


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46 


JAPANESE  COLOR  PRINTS 


The  Walpole  Galleries,  10  East  49th  Street,  New  York 


No.  2S1  No.  250  No.  252 

Utamaro 

Three  Prints  from  the  De  Goncourt  Sale,  Paris,  1898 


COLLECTION  OF  MRS.  ADOLPHE  BORIE 


47 


THREE  PRINTS  BY  UTAMARO 

From  the  De  Goncourt  sale,  Paris,  1898. 

250.  OSARU  KOMACHI  PLAYING  WITH  HER  LITTLE  SON. 

Seated  near  a  bamboo  screen,  her  soft  robes  exquisitely  shaded 
in  violet-pink,  tied  with  an  obi  of  green  brocade.  The  baby  lies 
on  the  floor  at  her  feet,  attracted  by  the  rattle  she  holds  for  his 
amusement.  Signed. 

*Broadsheet  on  a  grey  wash  ground.  Very  fine  and  brilliant  first 
impression.  These  prints  from  the  De  Goncourt  collections  are  the 
most  desirable  that  come  before  the  public.  The  French  were  the 

first  to  appreciate  the  art  of  the  Ukiyoye  and  the  De  Goncourt  col¬ 

lection  has  been  famed  for  many  years  for  the  high  quality  of  the 
material. 

(See  plate  No.  20.) 

251.  SECHICHO  KOMACHI  WATCHING  HER  BABY.  Clear  and 

brilliant  printing  of  a  delightful  subject.  Broadsheet  on  a  grey 
wash  ground.  Signed. 

The  Beautiful  Komachi  is  seated  on  a  green  engawa,  her  smooth 
hair  freshly  dressed  with  floral  pins.  She  leans  over  to  watch  the 

maid  (whose  striped  robe  is  tied  with  rose  color)  help  the  baby  in  a 

little  pink  gingham  doublewrapper  who  is  learning  to  take  his  first 
steps. 

(See  plate  No.  20.) 

252.  KOMACHI  WATCHING  HER  BOYS  PLAY  BLIND  MAN’S 

BUEE.  Broadsheet  on  grey  wash  ground.  Signed. 

*Harmonious  color  of  Utamaro’s  favorite  violet  pink,  offset  with 
touches  of  black;  a  deeper  note  of  color  introduced  in  the  robe  of  the 
blindfolded  boy  of  striped  Indian  red. 

(See  plate  No.  20.) 

253.  BATHING  THE  BABY.  A  charming  and  intimate  subject  show¬ 

ing  Utamaro  at  his  best.  In  spite  of  the  fact  that  he  has  his 
little  bucket  with  which  to  play  in  the  water,  the  baby  is  object¬ 
ing  seriously  in  the  age-old  manner  and  his  mother  is  trying  to 
suppress  the  yells.  Broadsheet.  Signed. 

*A  Utamaro  print  considered  of  the  highest  artistic  importance. 

(See  plate  21.) 


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48 


JAPANESE  COLOR  PRINTS 


UTA.MARO— Continued. 

PI.ATE  21 


Utamaro’s  Silk  \\’orm  Culture 

No.  256.  No.  3  of  the  Series  No.  262.  No.  10  of  the  Series 

No.  255.  No.  2  of  the  Series  No.  253.  Bathing  the  Baby 


COLLECTION  OF  MRS.  ADOLPHE  BORIE 


49 


UTAMARO’S  SILK  WORM  SERIES 

Eleven  of  the  twelve  sheets  forming  the  set,  ten  of  which  were 
secured  in  Japan  in  1903  and  one  from  Bing  in  Paris  in  1905  (lack¬ 
ing  No.  4).  Full  size  vertical  upright  prints,  printed  in  lilac,  pale 
yellow,  green  and  blue  with  explanations  in  the  yellow  cloud  like 
arrangement  at  the  top. 

All  in  the  original  condition  and  delicate  coloring.  Date  about 
1790. 


254.  THREE  WOMEN  BRUSHING  SILKWORM  EGGS.  Two  are 

doing  the  work  and  a  third  looking  on ;  a  flowering  tree  in  the 
hack.  No.  1. 

*Prof.  Fenollosa  considers  that  in  this  group  Utamaro  excelled  in 
the  use  of  the  delicate  purples  or  “divine  violet”  as  Utamaro  himself 
called  it,  and  harmonious  dull  greens  and  pale  yellows  enhanced  by 
the  artistic  use  of  black. 

(See  plate  No.  22.) 

255.  THE  LADY  ON  THE  LADDER.  A  very  famous  and  beautiful 

print  of  the  series.  Three  girls  are  gathering  leaves  to  feed 
silkworms.  No.  2. 

(See  plate  21.) 

256.  THREE  GIRLS  WITH  TRAYS  OE  COCOONS.  Two  carrying 

trays  on  their  heads,  while  a  third  stoops,  cutting  up  mulberry 
leaves.  No.  3. 

(See  plate  21.) 

257.  LOUR  GIRLS  EEEDING  THE  SILKWORMS.  No.  5. 

*A  woman  dropping  leaves  to  the  silkworms,  two  women  with 
baskets  of  leaves  and  a  fourth  bringing  in  a  bundle  of  mulberry 
branches. 

(See  plate  No.  23.) 

258.  THREE  GIRLS  BRINGING  IN  THE  COCOONS.  No.  6. 

A  girl  holds  a  leafy  branch  of  cocoons,  another  brings  a  tray, 
while  a  third  stands  combing  her  hair. 

(See  plate  No.  23.) 

259.  GIRL  WRAPPING  HER  HEAD,  watching  two  girls  mate  butter¬ 

flies.  No.  7  of  the  series. 

(See  plate  No.  23.) 

260.  TWO  LADIES  WATCHING  THE  BUTTERELIES.  One  holds 

her  baby,  while  the  other  directs  the  attention  of  a  little  boy  to 
the  butterflies.  No.  8. 


(See  plate  No.  23.) 


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50 


JAPANESE  COLOR  PRINTS 


UTAMARO— Continued. 


PLATE  22 


Utamaro’s  Silk  Worm  Culture 


No.  264.  No.  12  of  the  Series 
No.  254.  No.  1  of  the  Series 


No.  261.  No.  9  of  the  Series 
No.  267.  No.  10  of  the  Series 


COLLECTION  OF  MRS.  ADOLPHE  BORIE  51 

UTAMARO  SILK  WORM  SERIES. 

261.  THREE  GIRLS  DIPPING  THE  COCOONS,  so  that  the  silk  can 

be  wound  off ;  one  winding  cocoons  into  boiling  water,  another 
smoking.  No.  9. 

(See  plate  No.  22.) 

262.  EO'UR  BAREEOOTED  GIRLS  beating  and  hanging  up  the  silk. 

No.  10. 

(See  plate  No.  21.) 

263.  TWO  GIRLS  WEAVING  SILK.  A  woman  seated  winding  silk 

on  a  bobbin ;  another  smoking,  with  the  loom  between  them. 
No.  11.  [Secured  from  Bing  in  Paris.] 

(See  plate  No.  22.) 

264.  THREE  GIRLS  CARDING  SILK.  It  is  warm  work  and  one  of 

the  girls  has  thrown  off  her  dress,  baring  her  throat  and  breast. 
No.  12. 

(See  plate  No.  22.) 

EOUR  PRINTS  OE  UTAMARO’S  EARLIEST  PERIOD 

265.  WRITING  A  SONG:  SUMMER  COOLING;  NURSING  A 

BABY :  CARRYING  A  TRAY.  Eour  prints  of  Koban  size 
in  one  frame. 

*The  print  of  the  four  most  characteristic  of  the  style  later  developed 
by  Utamaro  is  the  one  to  the  left  showing  a  lady  teaching  a  little  girl 
“How  to  Carry  a  Tray,”  with  much  of  the  swing  and  grace  of  line 
we  are  familiar  with  in  the  later  prints. 

266.  OISHI  READING  A  LETTER,  Kisagawa  sits  above  him  on  the 

balcony  reading  it  by  the  reflection  in  her  mirror,  and  the  attend¬ 
ant  stoops  under  the  verandah  to  look  at  it  also.  Eamous  print 
No.  7,  from  the  “47  Ronins”  series,  but  time-worn. 

KEISAI  YEISEN.  1789-1848 

267.  BLUE  PRINT.  KOMOYE  IN  EESTIVAL  ROBES  OE  BLUE. 

Erom  the  “Eight  Views.”  Printed  in  three  tones  of  blue,  and 
very  rare  in  this  hawthorn  color. 

268.  BLUE  TRIPTYCPI :  “ELOWERS  OE  YEDO”  AT  A  MUSICAL 

CONCERT.  Six  girls  and  attendant  grouped  on  a  verandah 
overlooking  the  Sumida  River. 

*Fine  condition,  using  four  tints  of  blue  and  a  rare  triptych,  par¬ 
ticularly  in  blue. 


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52 


JAPANESE  COLOR  PRINTS 


UTAMARO — Continued. 

PLATE  23 


Utamaro’s  Silk  Worm  Culture 

No.  258.  No.  6  of  the  Series  No.  259.  No.  7  of  the  Series 

No.  260.  No.  8  of  the  Series  No.  257.  No.  5  of  the  Series 


COLLECTION  OF  MRS.  ADOLPHE  BORIE 


53 


PLATE  24 


269. 


270. 


No.  270 


No.  271 


HOSODA  CHOBUNSAI  YEISHI:  1760-1829 

Of  aristocratic  family  and  one  of  the  few  men  of  the  Ukiyoye 
School  who  could  claim  this  distinction ;  his  prints  reflect  his  inheri¬ 
tance  and  surroundings  and  are  much  in  demand,  particularly  in 
Japan. 

HASHIRAYE.  Signed.  Two  girls  on  a  warm  morning.  tall 
girl  in  black  gauze  leans  forward  to  hang  a  gold  fish  bowl  in 
the  window,  the  movement  shadowing  against  the  gauze  the  soft 
curves  of  her  figure.  Eier  companion  in  cool  green  sits  at  her 
feet  with  fan  and  pipe. 

(See  plate  No.  26.) 


YOUNG  LORD  GENJI  ATTENDED,  WATCHING  EIRE- 
ELIES.  A  group  of  three  on  the  bench  over  the  Iris  Pond; 
the  robes  in  harmonious  shades  of  violet  and  black,  that  of  the 
standing  girl  particularly  noticeable.  Broadsheet.  Signed. 

(See  plate  above.) 


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54 


JAPANESE  COLOR  PRINTS 


YEISHI. 

271.  TWO  COURTESANS  WALKING  WITH  TWO  KAMURO. 

Hinazuru  and  Kocho,  two  of  the  most  beautiful  women  of  the 

House  of  Choshiya.  One  wears  a  uchikake  of  black  gauze,  the 

other  ecru  with  a  little  flying  bird  pattern  in  gauffrage,  their 

obis  of  black  brocade.  Signed. 

*A  distinguished  group  in  the  soft  pastel  colors  for  which  this 
artist  was  famous. 

(See  plate  No.  24.) 

YEIZAN  TRIPTYCH 

272.  SEVEN  GIRLS  AS  THE  SEVEN  GODS  OE  GOOD  EOR- 

TUNE.  Sailing  away  at  sunrise  on  the  Dragon  Boat,  typifying 
the  Boat  of  Fate. 

*A  charming  conceit  in  lovely  color  of  pink  and  green  seen  to 
advantage  with  the  use  of  rich  Lack.  Instead  of  the  usual  Fat  God 
we  see  a  dainty  maiden  with  a  Teapot  as  a  Tortoise  for  her  attribute; 
for  an  Ebisu  we  have  a  little  lady  in  white  with  a  bowl  of  pink  fish,  etc. 

273.  “THE  YELLOW  TRIPTYCH.”  A  well-known  print,  showing 

two  Geisha  Girls  in  Imperial  yellow  robes,  one  tied  with  soft 
black,  and  their  companion  in  purple  (oxidizing),  seated  in  front 
of  a  tea-house  whose  inmates  are  shadowed  on  the  Shoji. 

274.  LISTENING  TO  ASAKUSA  TEMPLE  BELLS.  A  girl  in  soft 

old  blue  robe  in  two  tones  roused  from  her  couch  by  the  sound 
of  the  bells. 

275.  HARUGI  OF  THE  HOUSE  OF  EBIYA.  Signed.  Late  Spring 

snow  on  the  Cherry  Blossoms  and  pink  cloud  motifs  form  a  per¬ 
fect  background  for  the  beauty  in  her  many  folded  robes,  rich 
brocade  obi  and  uchikake  of  softest  black. 

*Very  fine  example  on  thick  soft  paper.  Collector’s  stamp  on 
reverse. 

276.  ROKUTAMAGAWA  SERIES.  A  tall  girl  in  yellow  with  black 

obi.  From  the  “Six  Tama  River”  series.  Signed. 

277.  GIRL  AS  AUTUMN.  From  the  “Eight  Views  of  the  Flowers  of 

Yedo.”  Signed.  Publisher:  Karaguchi. 

A  charming  arrangement  of  black  and  violet.  She  stands  on  a  yellow 
ground  by  an  old  grey-green  stone  lantern. 

278.  TWO  GEISHA  GIRLS  NEAR  A  TEA-HOUSE.  Printed  on  soft 

paper,  forming  a  very  pretty  diptych. 


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COLLECTION  OF  MRS.  ADOLPHE  BORIE 


55 


PLATE  25 


m' 


No.  279. 

ICHIRIUSAI  HIROSHIGE:  1797-1858 

The  perfecter  of  the  “Landscape  print”  and  in  many  cases  the 
creator  of  a  school,  who  effects  a  monumental  impression  with  a 
few  well  blended  colors. 

13  PRINTS  FROM  THE  YEDO  (OR  TOTO)  MEISHO 
279.  RYOGOHU  BRIDGE  FROM  THE  ‘‘TOTO  MEISHO.”  MOON¬ 
LIGHT.  Oblong"  broadsheet,  signed  Ichiriusai  Hiroshige.  With 
full  margins  and  a  few  moth  holes. 

*Very  rare  example,  original  coloring  and  condition;  the  great 
bridge  seen  with  Whistler-like  effect  against  the  slowly  rising  full 
moon  almost  obscured  by  sunset  clouds  and  rising  mist. 

\f  280.  THE  FAMOUS  KAMEIDO  TEMPLE  SNOW,  from  the  Yedo 
(or  Toto)  Aleisho.  Very  fresh  impression  with  the  footprints 
over  the  drum  bridge,  though  the  tone  of  the  buildings  has  oxi¬ 
dized  into  an  even  more  beautiful  color  scheme  than  ever.  Signed. 
Margins  on  three  sides  and  margin  line  remaining  on  the  left. 

*A  print  famed  for  the  “thick”  effect  of  falling  snow,  showing 
remarkable  quality  of  printing. 

281.  SHIBA  ZOJOJI  FROM  THE  YEDO  MEISHO  SERIES.  Two 
color  print,  in  tones  of  blue  and  old  red.  Signed. 


The  Walpole  Galleries,  10  East  49th  Street,  New  York 


56 


JAPANESE  COLOR  PRINTS 


HASHIRAYE. 


The  Walpole  Galleries,  10  East  49th  Street,  New  York 


Hiroshige  . 

No.  82,  Harunobu  No.  269.  Yeishi  No.  282.  Fujikawa  No.  96.  Kiyonaga  No.  97.  Konusai 


COLLECTION  OF  MRS.  ADOLPHE  BORIE 


57 


HIROSHIGE. 

282.  HIROSHIGE’S  FAMOUS  KAKEMONO  PRINT  “FUJI- 


KAWA.”  The  companion  print  to  the  equally  famous  “Monkey 
Bridge.”  Signed. 

*The  snow  gorge  of  FUJI  RIVER  IN  WINTER.  Snow  is  drifting  on 
the  woodcutter  with  his  load  crossing  the  narrow  bridge  over  the  icy 
chasm,  and  the  overhanging  pines  weighted  with  snow  sway  in  the 
chill  breeze.  Above,  soft  and  luminous,  the  great  heights  stand  clear 
above  the  snow  flurry.  Very  rare  when  in  such  fine  condition  as 
OFFERED.  Bought  Oil  advice  of  Mr.  J.  S.  Happer. 

(See  plate  No.  26.) 

283. 

RYOGOKU  BRIDGE  FROM  THE  YEDO  OR  TOTO  MEISHO. 
The  well-known  “long  bridge”  print ;  the  color  of  the  fireworks 
has  oxidized  with  time.  Signed. 

^  284. 

ASAKUSA  KINRYUSAN  TEMPLE.  A  noted  twilight  blue 
landscape  from  the  oblong  Yedo  Meisho.  Signed. 

285. 

PROCESSION  ENTERING  SHIBA  SHIMMEI,  the  picturesque 
Torii  in  grey  and  pink.  Oblong.  Signed. 

V  286. 

DRUM  BRIDGE,  KAMEIDO  TEMPLE.  From  the  “Toto 
Meisho,”  and  one  of  the  finest  blue  landscapes  ever  printed. 
Oblong.  Signed. 

^Excessively  rare  in  such  fine  blue.  Printed  on  soft  paper,  full 
margins. 

287. 

UYENO  PARK,  from  the  Toto  Meisho,  with  view  of  Shimizudo. 
Also  a  very  fine  blue  print.  Slight  tear  in  the  full  margins. 
Signed. 

288. 

KANDA  MIYOJIN  TEMPLE.  Travellers  admire  the  view  of 
pink  toned  village  and  cloudy  sky.  Oblong  print  of  beautiful 
tone.  Signed.  “Toto  Meisho”  Series. 

289. 

SHIBA  ATAGOSAN  AND  RAINBOW.  A  very  scarce  print 
from  the  oblong  Toto  Meisho.  Signed. 

290. 

ASUKAYAMA  FROM  THE  OBLONG  “YEDO  MEISHO.” 
Note  the  fine  quality  of  color,  rarely  seen,  and  the  good  blue 
of  the  clouds  (rare  in  this  form)  against  which  are  seen  the 
sailboats.  Signed. 

The  Walpole  Galleries,  10  East  49th  Street,  New  York 


58 


JAPANESE  COLOR  PRINTS 


HIROSHIGE:  YEDO  MEISHO. 

291.  NIHON  BASHI  IN  RAIN.  From  the  Yedo  Meisho,  and  of  a 

wonderful  grey  blue  tone,  the  bridge  a  faint  pink,  and  Mt.  Fuji 
almost  obscurely  grey. 

292.  YO'SHIWARA  GATE  BY  MOONLIGHT  IN  CHERRY  SEA¬ 

SON.  The  people  subordinated  into  the  effect  of  the  long  grey 
building  beyond  the  Cherry  Trees,  whose  blossoms  are  shadowed 
on  the  full  moon  just  rising  over  them.  Signed.  “Yedo  Meisho” 
series. 

293.  EVENING  RAIN  FROM  THE  “YEDO  KINKO  HAKKEL,” 

or  “Eight  View's  of  Yedo.”  Timeworn,  but  the  whole  print  per¬ 
vaded  with  the  melancholy  of  a  chill  evening  rain  that  has  made 
it  one  of  the  most  famous  rain  prints  of  Japanese  Art. 

*Quotation,  letter  from  Mr.  Happer  to  Mrs.  Borie:  “The  set  you 
want  the  title  of  is  ‘Yedo  Kinko  Hakkei’  and  the  titles  are  1  Adzumasho 
Yoru  no  Ame  (Evening  Rain),  No.  1  is  the  one  admired  so  much.’’ 

294.  YASE  NO  SATO  FROM  THE  KYOTO  MEISHO.”  A  very 

rare  print  in  the  original  coloring  and  condition.  Signed. 
Oblong. 

REPRODUCTION 

295.  PORTRAIT  OF  HIROSHIGE  BY  KUNISADA;  seated  with 

beads.  Reproduction  by  Kobayashi  of  Japan  of  the  original 
print. 

296.  REPRODUCTION  OF  A  HIROSHIGE  PORTRAIT  DRAW¬ 

ING  with  attached  slips  showing  variation  in  drawing  interest¬ 
ing  from  the  standpoint  of  the  artist.  Kakemono  shape. 

YOSHITORA. 

297.  KAKEMONO  PRINT.  A  Geisha  in  gala  array;  mellowed  print 

in  rich  dark  colors. 

ZENKEN  KOZITSU  BY  TETSUKA  KOSHO 

298.  HISTORY  OF  FAMOUS  JAPANESE  MEN  AND  WOMEN. 

Small  folio  volume,  published  by  Yosai  Kikuchi,  with  numerous 

illustrations  by  Kosho,  accompanied  by  descriptive  text. 

*Bought  on  the  advice  of  Mr.  J.  S.  Happer  as  an  example  of  native 
skill  in  outline  drawing. 

The  Walpole  Galleries,  10  East  49th  Street,  New  York 


COLLECTION  OF  MRS.  ADOLPHE  BORIE 


59 


299.  PIO’KUSAl  REPRODUCTIONS.  Three  fan  paintings  repro¬ 

duced  by  Kobayashi  and  stamped  as  such.  (3  pcs.) 

300.  TWO  DIFFERENT  REPRODUCTIONS  OF  HOKUSAI’S 

“Great  Wave,’’  stamped  as  such,  made  by  Kobayashi.  (2  pcs. ) 

301.  REPRODUCTION  OF  HOKUSAI’S  FUJI  IN  LIGHTNING. 

Made  by  Kobayashi  and  stamped  as  such. 

302.  FIGURE  OF  A  WOMAN.  Kiyomasu  reproduction  made  1)y  Ko¬ 

bayashi  and  stamped  as  such. 


The  W  aepoee  Galleries,  10  East  49th  Street,  New  York 


S.  L.  PARSONS  &  CO.,  INC.#  PRINTERS 
45  ROSE  ST.,  NEW  YORK 


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